


CLENDENEN'S 

SECJNO :OPY 

OUADtlLLE BOOK 



Guide to Etiquette i| 

t] CONTAINS ALL THE LATEST DANCES 



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Etiquette 



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oayoo PAGE. 

Intro^audtiOnr^r.'r:^ 3 

The Ball Room 4 

Explanation for Quadrille Movements 5 

Etiquette for the Ball Room 8 

Etiquette for the Street 10 

Introductions 11 

The Bow. The Courtesy 12 

Asking a Lady to Dance ~ 12 

Grand Promenade 13 

Trilby Two-Step 16 

Plain Quadrille 17 to 24 

Plain Lanciers 25 

Loomis' Saratoga Lanciers 26 

Loomis' Academy Lanciers 27 

Loomis' Lanciers 28 

Loomis' Metropolitan Lanciers 29 

Loomis' College Lanciers 31 

Loomis' Minuet Lanciers 32 

Gilbert's Columbia Lanciers 33 

Sheldon's Deer Park Lanciers 35 

Sheldon's Oakland Minuet 36 

Lanciers' Minuet 37 

American National Quadrilie 38 

American National Lanciers 39 

Piske Lanciers 39 

Military Lanciers 41 

Gulf City Lanciers 43 

St. George Lanciers 45 

Cadet Lanciers 47 

Waltz Lanciers 48 

De Gormo Lanciers 49 

Waltz Quadrille 49 

Waltz Quadrille Polacca 50 

Chautauqua Square 52 

National Quadrille 53 

Sheldon's Polka Quadrille 5q 

Parisienne 56 

Prairie Queen 57 

Varieties Quadrille 58 

Measures of Music per Minute 59 

Montibello Quadrille 61 

Dixie v(.« . v-^ ^- 

Virginia Reel .1 l»V.O .C0P4E.^ HEC -iVP-Tk ^- 

MoneyMusk ^^^ Ifr^.frrrrrrf^Cfr^:' 63 

Old Dan Tucker 63 

Highland Two-Step 63 

LaVeta 64 

Gilbert : 64 

The Schiller 64 

Le-Bijou 65 

The Jewel , 65 

Aurora ...-,...-, 66 

National Park Quadrille .♦. : . . . . j 67 

Oxford Minuet 68 

Chicago Glide 69 

Waltz Cotillion 70 

The German 70 

The Dewey , 75 



Introduction. 

At no period in the history of the United States, 
since the introduction of the Quadrille, has the neces- 
sity for a cheap but complete Prompter's Pocket Call 
Book been as imperative. 

The Quadrilles given in this work, have been se- 
lected with great care, from the best prompters in this 
country. 

But few persons claiming to be prompters, seem 
to realize the importance of good calling, A good 
prompter is of as much importance as fine music in 
making the quadrille a success. The caller should 
enunciate clearly and distinctly — should the crowd be 
to large, he should stand on an elevation in the center 
of the room. Great care should be taken at first, not 
to strain the vocal chords. Bear in mind always, that 
it is not so much the power, as the clearness, which is 
the most srtisfactory to those who are dancing 

I would advise all persons before forcing themselves 
upon the public as prompters, to take a few lessons in 
elocution, thereby enabling them to understand how to 
use their voices. 

Standard Quadrilles. 

Dancing quadrilles, without a *' prompter,*' is the 
only correct style of dancing, and will, in the near 
future, be the only way that society will entertain 
ihem. We would advise our pupils to learn the stand- 
ard Lanciers, as given in our work, as they are danced 
in every Academy where dancing is taught. 



— 4- 



Tlie Ball Room. 

K is very important to know and remember the 
head of the ball room, as ladies and couples at the 
head always take the lead in the quadrille. It often 
happens, for want of knowing how the sets are num- 
bered, mistakes will arise as to which of the couples 
ought to lead. 

Many of our callers of today, in fact, are ignorant 
on the proper formation of the quadrilles. By observ- 
ing that the first couple is at the head of the set, and 
the third couple to the right, second couple stands op- 
posite the first, fourth couple to the left of the first. 
So in changes of "First Two Forward," it is the lady at 
the head and the opposite gentleman ; "Second Two," or 
next two forward, would be the "first" gentleman and 
opposite lady, and "Third Two forward," is the lady to 
the right of first couple and last gentleman. 







2d COUPLE. 










L. 

2d 


G. 

ISt 






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G. 


2d 

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ORCHESTRA 



QUADRILLE FORMATION. 

Couples should stand seven steps apart. 

L represents lady. 

G represents gentleman. 



—5— 

Plain quadrilles are formed in four sets, or eight 
persons, four ladies and four gentlemen, and termed 
first, second, third, and fourth couples. 

The first and second couples are termed "head 
couples,'' and the third and fourth the "side couples." 

In forming for the quadrille, the gentleman always 
keeps the lady at the right. 

In dancing the quadrille, the time is marked by 
steps, or counts, and each bar corresponds to two 
steps or counts, every movement requiring eight 
counts for its performance; therefore it will occupy 
four bars of the music, there being two counts to each 
bar, and one step to each count. 

"The march, or walkmg step, is the only fashiona 
ble step used in quadrilles. ' 

Hxplanatioii for Quadrille 
Movements. 

For the convenience of beginners who use this book 
as their instructor, each call used in the quadrille 
changes has been separately placed under the head- 
ing of "Quadrille Movements. ' 

Alamande right or left : 

Turn the corner, (the gentleman turns the lady on 
his left with right hand) on returning to partner join 
left hands and turn with left hand. 

The only difference between alamande left and right 
is that in the latter the gentleman passes back of his 
lady and turns the right hand lady 

Balance to partner : 

Face partner, take four short steps backward, ad- 
vance four steps, join partner's hands, raised to a level 
with the lady's waist and turn partner. 

Balance to corner : (As used in Lanciers only.) Turn 
toward and face corner, walk four steps forward and 



—6— 

four backward, passing on the left, turn corner with 
both hands, return to place, stepping backward eight 
measures. 

Chassez : 

All face partners, and walk to the right and left four 
steps passing partners, salute corner, walk backward 
four steps, both hands to partner, turning to place. 

Forward and back : 

Advance four steps forward and four backward, four 
measures. 

First four right and left : 

First and second couples join nearest hands and 
cross over to opposite side of set, the ladies passing 
to the center; gentleman takes ladies' left hand in 
their left, turn partner half round to opposite couples' 
place, repeat back to place, eight measures 

First couf)le promenade, facing out : 

First couple promenade, eight steps around on the 
inside of the set to place, only facing out; third, fourth 
and second couples fall in line, facing same as first 
couple; when second couple face out, number three 
falls in back. 

First four balance: 

First two gentlemen cross hands with their partners, 
with his right hand above, and cross over, passing to 
the right of the opposite couple, turn facing, walk 
back to place on same side, keeping lady on the out- 
side on the return, again turn facing in place. 

Grand right and left : 

Each couple turns, facing partner, and salute part- 
ner, join right hands, pass to next lady, at the same 
time the lady advances to meet the gentleman ap- 
proaching, join left hands and continue on around the 
set joining right and left hands alternately, until he 
reaches his partner at opposite place from starting, 
before releasing the lady's hand, salute partner, then 



-7— 

join right hands, and left with the next, and so on un- 
til starting place is reached, then salute partner and 
turn to place with right hand joined, sixteen measures. 

IJalf promenade : 

Join both hands as in promenade, cross over to op- 
posite side of the set, "as in balance four'* then dis- 
engage hands and join nearest hands (right hand with 
lady's left) return to place same as right and left, 
eight measures. 

Ladies' cham : 

The two opposite ladies cross over, at the same time 
touching right hands in passing, give left hand to op- 
posite gentleman, turn half round, repeat to place, turn 
partner to place. 

Ladies grand chain : 

The four ladies cross right hands in center, forming 
a star, turn half round, drop right hand, joining left 
hand with opposite gentleman's, turn half round, joln- 
mg right hands asrain and circle to place, turn part- 
ner to place. 

Turn partner to place : 

The old style of "swinging*' partners, necessitates 
placing the arm around the lady's waist, but it is no 
longer in vogue. The gentleman joins his partners 
with both hands and turns once around to the left, the 
hands raised even with the lady's waist. 

Countermarch. — (Lanciers.) 

Ladies turn to the right, gentlemen to the left, march 
around in a circle, gentlemen pass on the outside of 
ladies at meeting at the back, continue marching un- 
til all are in two lines facing partner, sixteen steps. 

Grand square : 

In executing the grand square all are moving at the 
same time. First four forward, side four separate; to 
commence, the sides turn their backs to partners, 
walking four steps to corners, turn one-quarter and 



advance four steps to head places, turn one-quarter, 
advance four steps to center of set meeting partner, 
step back to places. At the same time first four ad- 
vance to center four steps, change partners, join 
hands, turn facing the side, advance four steps, face 
corners, separate to corners of set four steps, face 
partner, advance four steps to place. Now reverse 
the movement, by heads separating and sides advanc- 
ing, etc., using sixteen bars of music. Each person 
forms a square in the corner of the set — four steps 
on a side. 

Htiquette for Ball-Rootii. 

There are some people who attend the fashionable 
balls of today, who express contempt for the little re- 
quirements of behavior known under the title of eti- 
quette. The conduct of parties attending a ball should 
be governed by such rules as shall insure the entire 
company an evenmg of pleasure. 

Avoid slang phrases. 

Never take part in a quadrille without knowing 
something of the hgures. 

Dancing is subject to much abuse by the thought- 
less acquirements of bad habits 

Do not romp in dancing. 

Do not change from one set to another, it may place 
you with friends for the time, but will not add to your 
character as partners. 

Do not make a " grand rush " for places, which we 
regret to say is so frequent in our ball-rooms. 

Do not forget that you belong to the set, and not the 
set to you. 

Do not forget to thank your partner after seating 
her, for the favor she has bestowed upon you. 

Do not dance with your hat or bonnet on, leave 
them in the dressing room. 



— 9— 

Should you receive a polite refusal from a lady and 
then see her dancing with another gentleman, do not 
exhibit any symptoms of dissatisfaction, should this 
happen, as it often does, the gentleman is justified in 
never afterward repeating the request. 

Do not forget that perfect politeness conceals pre- 
ference, and makes itself generally agreeable. 

Do not sway the body with each step. 

Do not hold the arms stiffly. 

Do not hold the arms out straight in imitation of a 
windmill-fan. 

Do not wait until the music is half over before se- 
lecting a partner. 

It is the duty of a gentleman having a place in a 
quadrille to have his lady with him, otherwise he for- 
feits his place. 

Always recognize the lady or gentleman director or 
master of ceremonies, with becoming politeness. 

A lady should never promenade the ball-room alone, 
nor enter it unaccompanied. 

In passing through a quadrille, let your disengaged 
arm hang easily at the side. 

Sets should be formed with as little confusion a? 
possibly. 

The ladies' dressing-room is a sacred precinct, into 
which no gentleman should presume to look. To 
enter it would be an outrage not to be forgiven. 

It is very impolite and insulting to galop around or 
inside of other sets while dancing quadrilles. 

If a gentleman wishes to dance with a lady with 
whom he is not acquainted, politely ask the master of 
ceremonies for an introduction. 

The master of ceremonies is privileged to ask any 
lady or gentleman whether they wish to dance, make 
hmiself known and procure partners for all who de- 
sire to dance. 



—lo- 
in asking a lady to dance, be sure that Ghe accepts, 

and then allow her to rise before you offer your arm. 
The ball-room was not designed for the purpose of 

making love. 

At the close of a quadrille, the gentleman should 

salute his partner, present his right arm and lead her 

to a seat selected by her. 

Btiquette for tlie Street. 

While walking with a lady, the gentleman should 
keep the lady on the right hand side. 

A gentleman should not smoke when riding or walk- 
ing with a lady. 

A lady should be the first to recognize an acquaint- 
ance, whether intimate or not. 

A gentleman should precede the lady in a crowded 
street. 

A gentleman should raise his hat with the hand 
furthest from the lady he meets, do not pull the hat 
down so as to cover the face. 

If the lady with whom a gentleman is walking is 
saluted by a friend, the gentleman should acknowl- 
edge the same by raising his hat. 

Never detain a lady you meet. If you wish to con- 
verse with her, turn and walk in the direction she is 
going. 

Always ask a lady's pardo;. ^.or any inadvertence 
that may occur, and touch your hat with the tips of 
the fingers whether she is known to you or not. 

Hntering* tlie Ball-Room. 

The gentleman, having escorted his lady to her 
dressing-room door, and having sought his own, should 
arrange his toilet as quickly as possible, and return 



—11— 

to the ladies' room, where his lady will join him at the 
door, and accompany him to the ball-room. 

A gentleman should always dance first with his 
partner, and is also under obligations to her for the 
first dance after supper, as well as -the last number on 
the programme. 

Introductions. 

Persons giving a ball should select at least six or 
eight ladies to form an Introduction Committee. Up- 
on this committee depends much of the enjoyment of 
strangers. It is the duty of each member to see that 
all persons have partners for each figure on the pro- 
gramme. 

Should a gentleman request a dance from a lady 
prior to an introduction, the lady should not refuse 
with an excuse of previous engagement, for in so do- 
ing, she would betray very slight knowledge of ball- 
room etiquette. The correct answer would be: I v/ould 
be much pleased to accept your kind invitation if you 
would procure an introduction. 

In escorting a gentleman to a lady for an introduc- 
tion, offer the gentleman your arm. Care should be 
taken to pronounce names distinctly. Should a name 
be indistinct to one, that one should say at once, — " I 
beg your pardon, I did not understand the name." 
An inferior should be introduced to a superior; a 
gentleman to a lady, as: Miss Sweet, permit me to 
present Mr. Blank to you. 

When introduced to a lady, be particular how you 
ask her to dance, and the manner in which you ac- 
knowledge the introduction. Ladies are susceptible 
of first impressions, and it depends a good deal upon 
the manner of presenting yourself, whether they are 
agreeable or not. 



-12 — 

Xhe Bow. 

To execute a bow in dancing, step the left foot to 
the side about ten inches, at the same time turn, fac- 
ing partner, and draw the right foot up to first posi- 
tion, heels touching, and should simultaneously incline 
the body forward at the hips, without bending the 
knees, eyes resting to the floor about six feet in front, 
assume erect position, step with the right foot back to 
second position, turning to face center, and close the 
feet, two bars. 

'A lady never makes the bow!' 

Xlie Courtesy. 

The courtesy in dancing is made thus: step right 
foot to side and pass left foot in a semi-circle to the 
back (fourth position) until it rests upon the toe and 
ball, and at the same time bend the knee of the stand- 
ing leg, incline the body forward, straighten the 
standing leg, and gradually draw the advanced foot 
to its correct normal position. 

The depth of a courtesy is regulated by placing of 
the fore foot, the proper distance for adults is twelve to 
fifteen inches apart. 

Asking: a Lrady to Dance. 

In asking a lady to dance, take position directly in 
front of her, bend the body slightly forward, and re- 
spectfully say: May I have the pleasure for this dance, 
or, will you favor me with this dance, or, may I have 
the pleasure of a number on your programme? Should 
she answer **she is engaged," he should thank her 
and ask for some other dance for which she is not en- 
gaged. No lady will refuse to dance without giving 
some good reason for her refusal. In taking place, a 
gentleman should offer the lady his arm. 



— 13 — 

Grand Promenade. 

It has been customary tor some time past to com- 
mence the dance of the evenmg with a grand prome- 
nade or march. Should the company be late on arri- 
ving this may be deferred until later when more are 
present to take part. The march should be led by a 
lady and gentleman who understand the details of 
each figure or change. A second gentleman fully ac- 
quainted with the changes should be placed at one 
end of the room, where each figure is commenced, to 
act as prompter, his duty being to see that each couple 
preserve uniformity of action throughout the march. 

Care should be taken not to give too many figures, 
making the march wearying and tedious. 

The three or four figures given here will be found 
very effective and quite sufficient for length. 

The march in file: 

After promenading around the room until all have 
formed into a circle around the room, the leaders turn 
and march up the center of the room, and on reach- 
ing the top, the gentlemen should turn to the left and 
the ladies to the right, each gentleman following in 
single file, and each lady her leader in like manner. 
On arriving at the bottom of the room the ladies 
should pass to the left of each other, the gentlemen 
marching around the room on the outside of the la- 
dies and the ladies inside. When the gentleman meet 
their partners at the top of the room they form in 
couples again and march around the room to the 
right. 

Grecian cross: 

First couple lead the march up the center of the 
room, about six feet apart, to within six feet of the 
centre, separate, turn facing the sides of the room, 
ladies march to the right, gentlemen to the left. On 
reaching the side both turn one-quarter facing the top 



—14— 

of the hall, march four steps forward, turn one-fourth 
facing partners and center of room, and march to 
center, turn one-quarter and march about six feet 
apart. On reaching the top of the hall ladies turn to 
the right and the gentlemen to the left and circle 
around to the back. 

Figure number three: 

First couple lead up the center to the top, ladies 
turn to the right, gentlemen to the left. The ladies 
lead round and round the room, each time passing m- 
side the former, until the coil is very small, then the 
leader turns short around to the left and retraces her 
steps between the coils until all the coils are unwound. 
While the ladies are forming the coil the gentlemen 
march across the top of the hall, on reaching the side 
turn and advance two steps, turn one-quarter and 
march back to center, turn one-quarter and advance 
two steps, turn and march to side. Continue march- 
ing across and back until you reach the bottom of the 
hall. The lady and gentleman should guide their 
work so they meet at the bottom and march up 
through the center together. This figure may be re- 
peated bv the gentlemen making the coil and the 
ladies march across and back. 

Figure number four: 

All march around to the bottom, stop, join hands 
and raise them, forming an arch. The second couple 
pass under the arch, stop and join hands. Third 
couple pass under both, and so on, each couple pass- 
ing through and forming the arch until one continu- 
ous arch has been formed. All stop, separate about 
six feet apart, the leader signals the music to change 
into a waltz, and leads off the waltz down between 
the lines followed by each one in turn and around the 
room. 

Many prefer the "quadrille," or ''Sicilian circle," in 



—15— 

place of the waltz, for the finish. Should you wish to 
form into either the quadrille or circle, march around 
the room and down through the center, four abreast, 
to the top of the room, all stop and at a signal for the 
music to change, first and fourth couples face, second 
and third step to the sides m the formation for a quad- 
rille. If you prefer the circle continue marching 
around in a circle, four abreast until the couples are 
compact enough to form a circle, at a signal for the 
music to change, the first four should turn half around 
facing the second four, third four facing the fourth, 
etc. The odd couples turning around facmg the even 
couples. 

The prompter will give the changes as follows: 

Right and left across, four bars. 

Back again, four bars. 

Balance and turn partner, four bars. 

Ladies change, four bars. 

Forward and back, four bars. 

Forward and pass through to next set. 

The couples must strictly confine themselves to 
their set. 

There are many other figures that can be given, as 
the anchor, crescent, star, and diamond, but figures of 
this kind require some drilling, and all turns must be 
made precisely at the same place. 

The kaleidescope will be found very pretty for the 
opening of the dance. 



>fe^ 



—16— 

TRILBY TWO STEP QUADRILLE. 

Arranged by F. L. Clendenen. 

3pecial Arrangement for Piano, 50c. 

No. I. 

Introduction, salute partner and center 8 bars 

First four forward and back 4 " 

Forward and salute 4 " 

First four two step i6 " 

Two ladies' chain 8 " 

Sides repeat. 

Third time all join hands, forward and back, 

forward and salute, all two step, ending 

after the twc^step. 

No. 2. 

Introduction — Turn corner with right hand 

partner with the left 8 bars. 

First four forward and back . 4 

Two ladies half chain across 4 

Side four forward and back 4 

Two ladies half chain across 4 

Four ladies to the right and salute 2 

All two step 16 

All join hands, circle to the left 8 

Second and fourth time sides repeat. 
End No. 4 after two step. 

No. 3. 

Introduction — Join hands, circle to left 8 bars 

First four lead to the right and salute 4 

Half right and left and salute 4 

Half right and left to places and salute 4 

All two step 16 

All join hands forward and back twice 8 

Sides repeat. 

Second and fourth times lead to the left. 

End after the two step the fourth time. 

The music for this Quadrille will be sun to please 
the assemblage. 

Published for Orchestra, 60 cents. 



—17-- 

RART SECOIMO. 



PLAIN QUADRILLES. 

No. 1. 

Address . , 8 bars. 

First four right and left 8 

Balance four 4 

Turn partners 4 

Ladies' chain, first four 8 

Half promenade, right and left back 8 

Sides the same. 

No. 2. 

First four forward and back 4 bars. 

Cross over four 4 

Chasse to the right and left 4 

Cross back and sides separate 4 

Forward all and back 4 

Turn partners to place 4 

Sides the same. 

No. 3. 

First four lead to the right 4 bars, 

Chasse out and half round 4 " 

Forward all 4 " 

Turn to places 4 ** 

All join hands forward -twice 8 " 

Sides the same. 

No. 4. 

First couple lead to the right 4 bars. 

Four hands round 4 " 

Right and left with the next 8 " 

Ladies' chain with the next 8 " 

All balance and turn 8 " 

Played four times. 



-18- 



NuiviBEiiR nr\A/o. 

No. 1. 

Address 8 bars. 

First four right and left 8 " 

Balance four 8 " 

Half promenade 8 " 

Sides repeat. 

No. 2. 

First lady balance to right, gent to left, turn. . 8 bars. 

Balance four to next 8 " 

Pass each other and balance to third and turn. 8 " 

Alamande left 8 " 

Four times. 

No. 3. 

First four forward and ladies cross over 8 bars. 

Sides forward and ladies cross over 8 ** 

Grand right and left one-quarter round, meet 

your partner and promenade to place 8 " 

Balance all and turn 8 " 

Repeat once, or four times. 

No. 4. 

First four right and left, and side four right and 
left, same time 8 bars 

First four balance four, side four ladies chain 
at same time 8 " 

Ladies balance to right, turn 8 '* 

Balance to next, all turn partners 8 " 

Side four the same. 



—19— 



IMUIVIBEIR -three:. 

No. 1. 

Address 8 bars. 

First four right and left 8 " 

Balance four 8 " 

Ladies chain 8 ** 

Half promenade 8 " 

Sides the same. 

No. 2. 

First couple lead to the right and balance .... 4 bars. 

Turn four hands 4 " 

Gent take two ladies and balance to next and 

turn five hands 8 " 

Take three ladies and balance to next and turn 

six hands 8 *' 

All join hands and circle to the right 8 *' 

Repeat for each couple. 

No. 3. 

First couple balance to right 4 bars. 

Change partners and turn 4 " 

Balance to next, change, and turn 8 " 

Balance to next, change, and turn 8 " 

Ladies grand chain 8 " 

Repeat for each couple. 

No. 4. 

Jig any calls. 



—20— 
NUIVIBEIR FOUR. 

No. 1. 

Address 8 bars. 

First four right and left 8 ** 

Balance four * 8 " 

Ladies chain 8 " 

Half promenade 8 " 

Sides the same. 

No. 2. 

First four forward to center 4 bars 

Chasse by couples to right between side four 

in a star 4 " 

Join right hands, circle in a star 4 " 

Circle back with left hands 4 *' 

First four chasse to the left to center 4 " 

Join hands and circle to place 4 " 

All balance and turn corners 8 " 

Sides the same. 

No. 3. 

Ladies grand chain half round 4 bars. 

Half promenade with opposite gent 4 " 

Grand chain again 4 ** 

Promenade to place 4 " 

Form grand square. 

No. 4. 

First four to the right 4 bars. 

All chasse and form into lines 4 " 

Half right and left into lines 4 " 

Half right and left across 4 " 

Half ladies chain in line 4 " 

Half ladies chain across 4 " 

Forward and back in line 4 " 

Forward and turn partner to place 4 " 

Sides repeat. 



—21— 

iMurviBEiR rive:. 

No. 1. 

Address 8 bars 

First four right and left 8 " 

Balance four 8 " 

Ladies chain 8 " 

Half promenade 8 " 

Ladies repeat. 

No. 2. 

Two ladies and opposite gentlemen, forward 

and back 4 bars. 

Dos-a-dos .... 4 " 

First four right and left 8 *' 

All balance to corner and turn to place 8 " 

Repeat three times. 

No. 3. 

First couple promenade inside of set 8 bars. 

Right and left, with right hand couple 8 " 

Ladies chain, with the left hand couple 8 " 

Balance four with sides 8 " 

All forward and back, twice 8 " 

Repeat three times. 



IMUIVIBER 3iX. 

No. 1. 

All join hands forward and salute, salute part- 
ners 8 bars. 

First four lead to the right, chasse, and salute 

opposite lady 4 " 

Change ladies, turn to opposite, chasse and 

salute 4 " 

Take that lady to place 4 " 

All promenade — half 4 " 

First four half right and left 4 " 

Side fours half right and left 4 " 

All chasse, salute 4 " 

Turn partners 8 " 

Sides repeat. 



--22— 

No. 2. 

First four lead to right, change partners and 

form in lines 4 bars. 

Forward all 4 

Chasse by couples, across 4 

Right and left 4 

Forward all 4 

Chasse by couples 4 

Ladies half chain 4 

Forward all 4 

Balance all, turn partners 8 

Grand right and left 16 

Sides repeat. 

No. 3. 

Grand right and left, half 8 bars 

Half right and left to places 8 " 

Four ladies forward to center and grand right 

and left 8 " 

Turn partner 8 " 

All promenade 8 '* 

Repeat. 

No. 4. 

First four forward and back 4 bars. 

Side four forward and back 4 " 

All forward and back 4 " 

Head gentleman retain partner, take side lady 

to place 4 " 

Forward six 4 " 

Ladies half change to side 4 " 

Note. — Ladies on the left pass to the right gentlemen, stop on 
the left side, ladies on the right go to the left gentlemen, stop on the 
right side. 

Forward six 4 bars. 

Ladies change to head 4 

Forward six 4 

Change to sides 4 

Forward six 4 

All join hands, forward 4 

Turn partner 4 

All chasse 4 

Sides repeat. 



—23— 
IMUIVIBEIFR SEVEN. 

U. S. Quadrille. 

Figures composed by Prof. J. S. Christv. 

(Mo. 1. 

Introduction, address partners 8 bars. 

Balance to partners and turn to place 8 " 

Turn corners with right hand, partners with 

the left to place '4 " 

First couple lead to the right, four hands around 4 " 

Right and left with the next 4 " 

Ladies change with the next 4 ** 

First couple in the center and six hands around 4 " 
Turn corner with right hand, partner with the 

left to place 4 " 

Repeat four times, each couple in its turn. Promenade all 

No. 2. 

Introduction 8 bars. 

Balance to partners and turn 8 " 

Turn corners with the right hand and partners 
wnth the left 4 " 

First two ladies forward, -salute, and turn the 
gentleman to the right, repeat wnth each 
gentleman to place, (by balancing 4 bars, 
and turning, 4 bars to each gent.) 8 " 

First two ladies in center, and six hands around 4 *' 

Turn corner with the right hand and partner 
with the left to place 4 " 

Grand chain all the way around 8 '* 

Repeat four times with head and side ladies, and head and side 
gents, circle eight. No. 3. 

Balance all 8 bars. 

Turn corners with the right hand and part- 
ners with the left to place 8 *' 

Four ladies lead to the right, turn all the gentle- 
men (by balancing 4 bars, and turning 4 bars) 8 " 

Ladies half chain 4 " 

Take that gentleman and half promenade 4 '* 

Ladies half chain 4 " 

Take your partner and half promenade to place 8 '* 

Grand chain all the way around 16 " 

Four ladies forward to the center 4 ** 

Gentlemen circle on the outside 4 ** 

Form a basket and circle eight just as you are 8 " 
Reverse positions with gents in the center and 

circle eight the other way 8 '* 

All balance and turn partners to place 8 " 

Repeat the same by gents leading to the right. Promenade all. 



—24— 

INJUIVIBER EUGSHT- 

Francaise. 

As translated from the old French quadrille by Prof. M. C. Aker. 

No. 1. 

Address , 8 bars. 

Right and left all 8 

Face partner, chasse to right and left 4 

Turn with right hand 4 

Ladies' chain 8 

Half- promenade 4 

Right and left to place 4 

Repeat. 

No, 2. 

Introduction 8 bars. 

First lady and second gentleman forward and 

back 4 " 

Chasse to the right 4 " 

To the left 4 " 

Cross over 4 " 

Forward and back 4 ** 

Chasse to right 4 " 

To left 4 " 

Cross to place '. 4 " 

Allbalance to partners and turn with right hand 8 ** 

Repeat second lady, first gentleman. 
No. 3. 

Introduction 8 bars. 

First lady, second gentleman join right hands . 

cross over 4 " 

Left hand back and right hand to partners. . . 4 " 

All balance 4 " 

Half promenade 4 ** 

First lady, second gentleman forward and back 4 " 

Dos-a-dos 4 '* 

All forward and back 4 ** 

Right and left to place 4 " 

Repeat, second lady, first gentleman. 

FORMATION. 

In teaching this dance, form in two lines, and num- 

ist 2d ist 2d 

ber the couples from the head thus: <^o 00 00 00 

^ 1 2 3 4 

/ 5 6 7 8 \ 

so first couple stand opposite, [00 00 00 00 j the 

second. After learning the dance, form in squares of 
double sets, or four couple abreast, never in single sets. 



—25— 

RART" "THIRD. 



LANCIERS QUflDRILLES 

Plain Lanciers. " 

As taught by Prof. F. L. Clendenen. 

No. 1. 

Introduction, address partner and center 8 bars, 

First four forward and back 4 " 

Forward, turn opposite lady and return to place 4 " 
Cross over first couple inside, back on the out- 
side 4 " 

Salute corner, turn corner 4 " 

Sides repeat. 

No. 2. 

Introduction 8 bars. 

First four forward and back 4 " 

Forward and leave lady in the center 4 " 

Chasse, turn partner to place 4 '* 

Sides separate, join hands with first four, for- 
ward eight, turn partner to place 8 " 

Sides repeat. 

No. 3. 

Introduction 8 bars. 

Plrst four forv/ard and back 4 " 

Forward to the center and salute, return to 

place 4 " 

Ladies chain 8 " 

Sides repeat. 

No. 4. 

Introduction 8 bars. 

First four lead to the right, salute 4 " 

Lead to the left, salute 4 " 

Lead to place, all salute 4 " 

First four right and left 8 " 

Sides repeat. Then to left. 

No, 5. 

Chord— Salute all. 

Grand right and left 16 bars. 

First couple face out, sides fall in line 8 " 

Forward all, forward and back twice 8 " 

Counter marcli 8 ** 

Forward and back, turn to place 4 " 

Starting with grand right and left, repeat three times, by the 3d 
jd, and 4th couples. 



—26— 
IMUIVlBEIfR T\A/0. 

LooMis' Saratoga Lanciers. 
(Original.) 

By permission of Prof, Loomis. 

No. 1. 

Head couples forward and back, with side 

couples on their right 4 bars. 

Forward and turn vis-a-vis (in same direction) 

head couples passing between side couples. 4 " 
Returning, side couples between head couples 4 " 

All balance at corners 4 " 

Turn the same 4 " 

First and second time — head couples lead to right. Third and 
fourth time— side couples lead to right. Four times. 

No. 2. 

All forward (to the center) and back 4 bars. 

Place ladies in center (facing partners) and bow 4 " 

All chasse to the right and left 4 " 

Turn partners to place 4 " 

Four gents give left hands across, right hand 

to partner's left, promenade 8 " 

No. 3. 

All forward (to the center) and back 4 bars. 

Forward again, salute vis-a-vis and return to 

places 8 " 

Four ladies chain 8 " 

Four times. 

No. 4. 

First four lead to the right and bow 4 bars. 

Lead to the left and bow 4 '• 

Return to places and bow 4 " 

All balance to corners and turn the same 8 " 

Heads repeat the same by going to the left. Sides repeat the 
same. 

No. 5. 

All bow, grand right and left half around 16 bars. 

Turn partner with right hand, returning to 

places 4 " 

First couple face out, sides in the center 4 " 

All chasse, march 

Ladies and gentlemen down outside, gentlemen passing around 
ladies and forming two lines on opposite sides. All forward and 
back in two lines. Turn partners to places. Four times. Ending 
with grand right and left half around and return to places. 



—27— 
IMUIVIBEIR three:. 

LooMis' Academy Lanciers. 
No. 1. 
Introduction 8 bars- 
Grand right and left half around 8 " 

Head couples half right and left 4 " 

Sides half right and left 4 " 

All balance to corners and turn the same 8 " 

No.. 2. 

Head couples lead to the right and bow 4 bars. 

Exchange partners, forming two lines 4 " 

All chasse by couples 4 " 

Dechasse 4 " 

All forward and back; forward and turn part- 
ners to place 8 " 

N. B.— First and second time, head couples lead to right; third and 
fourth time, side couples lead to right. 

No. 3. 

Right hand to partner; pass and give left hand 
to the next; turning quite around, giving 
right hand to partner; turn to place and bow 8 bars. 

All balance to corners; turn the same 8 " 

No. 4. 

Two first ladies give right hands to side ladies, 
exchange places and bow 4 bars. 

Repeat, which brings all ladies half around . . 4 " 

Four ladies cross right hands half around to 
place without turning; bow 4 " 

All chasse by partners and bow to corner ... 4 " 

Chasse back; bow to partner 4 " 

N. B. — First and second time the head ladies pass to right; third and 
fourth time, side ladies pass to right. 

No. 5. 

Head couples right and left with sides on their 

right 8 bars. 

Ladies' chain with side couples on their left. . 8 '* 

First couple face out 2 '* 

First side couple in center 2 " 

Fourth couple in center 2 " 

All fall back in two lines facing partners 2 " 

All cross over, giving right hand to partner and 

bow; return, give left hand and bow 8 " 

All forward and back; forward and turn part- 
ner to place 8 " 

All join hands in a circle; forward and back; 
forward and bow 8 " 

N. B. — After the figure is danced four times all circle around to place 
and back the other way. 



-28— 
IMUIVIBEIFR ROUR. 

LooMis' Lanciers. 

No. 1. 

Introduction 8 bars, 

First four pass through sides and salute 4 " 

Pass through next couple and salute 4 " 

Four ladies' chain. 8 " 

Balance to corners and turn (repeat four times) 8 " 

p. S. — At the end of the ladies' chain, give right hand to lady'j 
left and not turn. 

No, 2. 

All forward and back 4 bars 

Forward and leave ladies in center facing part- 
ners and salute 4 " 

All chasse, four gents in center and four hands 
half around and turn opposite ladies 8 '* 

First four lead to right and cross four hands 

around to same place 8 " 

Repeat four times. 

No. 3, 

Grand right and left, quarter chain, thus: give 
right hand to partner and pass to the next 
lady, giving left hand and turn quite around. 
Meeting partner with right hand, turn to 
places 8 bars 

Four ladies pass to right, taking next lady's 
place and salute 4 " 

All join hands, forward and back .4 '* 

Forward and turn 4 " 

Repeat four times, which brings ladies to 
their places. 

No. 4. 

First four forward and back, forward and ex- 
change partners and lead to the left 8 bars 

Facing side couples, without turning and sa- 
lute 4 • 

Four hands round to opposite places and salute 4 ' 

First four forward and back 4 * 

Forward and exchange partners to places. ... 4 ' 
Repeat four times. 



—29- 



No. 5. 

Salute, commencing- with the grand square, 
first four in the center, sides separate; sides 
fowrard, first four separate, partners to 
places. Repeat figure with sides in the cen- 
ter, first four separate, etc i6 bars. 

First couple march round and face out 4 *• 

First side couple in center 2 " 

All chasse and form two lines facing partners 4 •• 
March. Two first ladies, with the two gentle- 
men at the foot, cross over; two first gentle- 
men and the two ladies at the foot cross over. 
Repeat the same back to places. All for- 
ward and back in two lines, turn partners to 
places. 
Repeat three times ending with grand square. 



IVJUrVIBEIR RIVE. 

LooMis' Metropolitan Lanciers. 

No- 1. 

Introduction g bars. 

Grand right and left, quarter way around, stop 
and bow a « 

Grand right and left to opposite places, bow to 
partners 4 <« 

tiead couples half right and left to places 4 " 

Sides the same. 

^11 balance to corners and turn the same 8 " 

Repeat three times. 

No. 2. 

Heads lead to the right and bow 4 bars. 

Ml exchange partners, forming in two lines 

facing partners 2 " 

Bow to temporary partner 2 " 

R-ight and left with opposite couples 8 *' 

\11 join hands in two lines, forward and back 4 " 

[forward and turn partners to places 4 " 

Repeat three times. 



-30— 

No. 3. 

Right hand to partner; pass and give left hand 
to next turning quite around, giving right 
hand to partner, turn to places and bow. ... 8 ba.^ 

All balance to corners and turn the same 4 *' 

Repeat three times. 

No. 4. 

Head couples ladies' half chain with the cou- 
ples on their right; stop and bow 4 bars. 

Ladies' half chain again which will bring all 
the ladies to opposite places; stop and bow 4 " 

Four ladies cross right hands around to part- 
ners and bow 8 " 

All balance to corners and turn the same 8 " 

Repeat three times. 

First and second head ladies go to right, and 
side ladies to the left. Third and fourth 
time, reverse. 

No, 5. 

Heads right and left with the couples on their 
right 8 bar^ 

Four ladies cross right hands and go quite 
around, giving left hand to partner; turn 
and bow 8 " 

First couple face outward 4 " 

First side couple fall in behind the leading 
couple; second side couple fall in. All fall 
back in two lines, facing partner 4 " 

All cross over; two ladies passing between the 
gentlemen ; returning, gentlemen passing be- 
tween the ladies 8 ** 

March as in the Minuet Lanciers, viz: gentle- 
men and ladies down outside; gentlemen 
passing around ladies and forming two lines 
on the opposite side. All forward and back; 
turn partners to places. Repeat three times, 
ending with the grand right and left. 

P. S.— First and second time heads right and left with couples o^ 
their right. Third and fourth time right and left with the couples or 
their left. 



—31— 
IMUIVIBEIFR SIX. 

LooMis' College Lanciers. 
No. h 

Introduction 8 bars 

Heads to right, side to left, pass through and 
address 4 bars. 

Pass through again and address 4 ** 

Four ladies forward and back 4 " 

Four gentlemen forward and back 4 " 

Balance corners. Turn corners 8 " 

Ex. Passing through, ladies go inside. 

Heads and sides go to the right alternately. 
No. 2. 

Heads lead to sides. Address 4 bars. 

Exchange partners and form two lines. Ad- 
dress temporary partner 4 " 

Ladies' chain with opposite couple 8 " 

Join hands in line. Forward and back. For- 
ward and turn partners to places 8 " 

No. 3. 

All join hands, forward and back, four ladies 
pass to the right in ladies' place, address 8 bars. 

Balance corners. Turn corners 8 *■* 

Four times 

No. 4. 

Grand right and left quarter way around, ad- 
dress 4 bars. 

Grand right and left quarter way around, ad- 
dress 4 " 

Four ladies forward and address 4 *' 

Heads right and left to place 4 " 

Sides right and left to place 4 " 

No. 5. 

Chord. Address. 

Grand square. Heads forward, sides separate 
Sides forward, heads separate 16 bars, 

Heads face out. Each side couple lead to the 
right. Fall back in two lines facing partners 8 " 

All cross over; two ladies join hands and pass 
between two gentlemen; return the same. . . 8 " 

Join hands in two lines, forward and back, for- 
ward and turn partners to places 8 *' 

All join hands in circle, forward and back, for- 
ward and address 8 " 

Four times, ending with Grand Square. 



—32— 
ISIUIVIBEIF? 3E:VEISI. 

LooMis' Minuet Lanciers. 

No.1. 

introduction 8 bars. 

Head couples forward and back, lead to right, 

address 4 " 

Take side lady with left hand, go to opposite 

places. Address : 4 " 

Forward and back six. When the six fall back 

the two gentlemen forward 4 *' 

All turn partners 4 " 

All balance to corners and turn. 8 " 

Repeat to places. Sides the same. 
No. 2. 
All forward and back; forward, leaving ladies 

in center facing partners. Address 8bars. 

All forward and back; turn partners with both 

hands 8 " 

All promenade, gentlemen giving left hands 

across right hand to partner's left 8 " 

No. 3. 

All join hands forward and back 4 bars.. 

Forward and address 4 " 

Four ladies' chain 8 " 

No. 4. 

Head couples lead to right. Address 4 bars. 

Exchange partners, and form two lines facing 

partner. Address lady on the right 4 " 

Half right and left with opposite couples 4 " 

All forward and back; turn partners to places, 8 " 

Four times. 

No. 5. 
Address. Commence with grand square 

First four to center, sides separate. . . ; 8 bars. 

Partners to place 8 " 

First couple face out 4 ** 

First side couple next 2 " 

Second side couple 2 *' 

All chasse 8 " 

March. Gentlemen and ladies down outside, 

gentlemen passing around ladies, forming 

two lines on opposite sides 8 " 

All forward and back, turn partners to place. . 8 " 

Ending^ with Grand Square. 

Loomis' Lanciers copyrighted. Published by permission. 



— 33— 
IMUIVIBER EIGHT. 

Columbian Lanciers. 

By M. S. Gibson. 

No. 1. 

Introduction 8 bars 

All forward to the right, (Each couple face to 

right and forward and back) 4 " 

Turn partners 4 *' 

Ladies forward and join hands in circle facing 

out 4 ** 

Balance \ . . . 2 " 

Ladies forward and form circle with gentle- 
men, (ladies facing out and gentlemen facmg 

out , 2 " 

Balance 4 *' 

Turn partners 4 " 

The second and fourth times, forward to the 
left, and gentlemen to center. 

No. 2. 

First four lead to the right and salute 4 bars. 

Leave ladies with side couples and return to 
place. (First two gentlemen place their 
ladies to the left of the said gentlemen, form- 
ing two lines of three, facing the center, and 

return to places 4 " 

Forward and back six 4 " 

Ladies cross over 4 *' 

Forward and back six 4 " 

All turn partners, (to place) 4 *' 

Second and fourth times sides lead. 

No. 3. 

First four lorward 2 bars 

Exchange ladies and return to places. (The 
exchange of ladies should be made by the 
gentlemen taking the ladies right hands in 
their left, the gentlemen turning so that they 
will move forward in conducting new part- 
ners io places 2 " 

All joiii hands and salute 2 *' 

Retire to place 2 " 

All chasse across. (All chasse across and sa- 
lute corners, dechasse and salute partners. 8 *' 
Second and fourth times sides lf^,ad. 



—34— 

No. 4. 

First four lead to the right and salute 4 bars. 

Separate and form lines with sides and sakite. 
(Separating, the gentlemen pass to the right 
of the side ladies, and the ladies pass to the 
left of the side gentlemen, forming two lines 
of four, facing the center, the lines salute 
each other 4 " 

First four forward and salute. (The first gen- 
tlemen and second lady forward toward 
each other, and the second gentlemen and 
first lady will do the same 4 *' 

First four right and left 8 " 

Second and fourth times sides lead. 

Note — It will be seen that two gentlemen exchange places each 
time the above number is danced, and all do not regain original places 
until the number is bemg danced the fourth time. 

No. 5. 

Four ladies half chain 4 bars. 

Four gentlemen half chain 4 " 

Four ladies half chain 4 ** 

Four gentlemen half chain 4 •' 

First couple promenade, (Gentlemen taking 
lady's left hand in his right, leads her around 

inside the set and finishes in place 8 " 

All chasse to the left 2 " 

Dechasse 2 " 

Turn partners 4 " 

All face partners and march. (Gentlemen upon 
the outside, ladies upon the inside, half 

around the circle and salute partners 8 '* 

All forward and back 4 *' 

Eight hands around to place 4 " 

Third, second and fourth couples in turn 
promenade. 

Note— In place of promenade, the Two Step may be danced inside 
the set, eight bars. 



-35— 
NUIVIBEIFR nine:. 

K. OF p. Triangle Quadrille. 

By permission of Prof. W. W. Hall. 

Adopted by the Western Association, June l, 1895. 

Special music for full Orchestra, $1.00. 

Calls and Instructions for the K. P. Triangle Dance. 

No. I. 

.introduction (8). First couple right and left with right hand 

couple (8). 
Promenade or balance with left hand couple C8). 
Ladies' chain with right hand couple (8). 
Half promenade with left hand couple (8) 
Second and third couples ditto. 

No. 2. 

No Intro. All forward and back (4). Turn partners (4). 
First lady to right and gent to left hand couples and balance (4) 
Three hands round (4). Same two chassez by and balance (4) 
Three hands round (4). Places and all balance (4). Turn (4) 

Next lady to right, etc. 

No. 3. 
No Intro. First couple forward and back (4). 
Forward again and gent turn lady between second and third 

couples and return to place (4). 
Five join hands, forward and salute (4). Back and salute (4). 
Gent balance with lady on his right (4). Turn (4). 
Five forward and salute (4). Back and salute (4). 
Gent balance with lady on his left (4). Turn (4). 
Five forward and salute (4). Back and salute (4]. 
All balance and turn partners to place (8). 

Second and third couples ditto, last time promenade (8). 

No. 4. 

No Intro. All forward and back (4). Turn ladies |to center 
face out and salute (4). 

All balance (4). Dos-a-dos (4). Gents pass to right and 
balance (4). 

Dos-a-dos (4). Pass to next anr} balance (4). Dos-a-dos (4). 

Balance to partners (4). Turn to places (4). March prome- 
nade (8), 
Repeat with gents in center. 

INSTRUCTIONS. 

Sets take same amount of floor space as ordinary quadrille. 

Where "No Intro." is marked in calls, give first call when music 
starts. 

'Last time promenade" means this call is to be given after the 
quadrille has been danced through the proper number of 
times, in order for the music to end on the first strain. 

Slow minuet step should be used to the call "Five forward and 
salute" in the third number. 

March in fourth number is played the same tempo as "America" 
is usually sung. 
Further explanations can be had if desired by addressing 

W. W. HALL. Grand Forks, N. Dt 



— i56— 

IMUIVIBEIIR XEIiM. 

Prof. Sheldon's Oakland Minuet. 
No, 1, 
Leads, (gents giving hand to partner and left 

to opposite gent,) promenade around each 

other and salute couples to left 8 bars. 

While sides give right hands and balance in 

place. 

Cross hands with sides and around 8 " 

Right and left to places 8 '* 

Sides same. 
Lead to front and through. Back. The other 

way 32 " 

No. 2. 

First couple face out. Sides in center. Join 
hands and balance on line 32 bars 

Right hands and change places. Join hands 
and balance on line 16 ** 

Left hand back and balance on line 16 " 

All to places 8 '* 

No. 3. 

All forward and ladies join hands in center. . . 8 bars. 
Gents join hands around to right, raising hands 

'pass right over oartner's head 8 " 

Same time ladie:^ balance. 
All around to left and join partners at place. . 8 " 

No. 4. 

Leads to right sides, left pass through and sa- 
lute opposite couples on next place 8 bars. 

Cross hands and around 8 " 

Through to next place, join hands and around. 16 " 
Repeat 32 " 

No. 5. 

Right hand to partner, turn ladies backs to 

center 8 bars 

Ladies join hands and around to opposite place 8 " 
Same time gents prom^enade in opposite direc- 
tion to same place. 
Left hand to partner and turn gents to center 8 " 
Gents to right to places, (ladies the other way) 8 " 

Turn partners at place 8 " 

All forward. Back. Right. Left. Salute. 
To seats 16 " 



—37— 

V 

ISIUIVIBElfR EIUEIVEIIM. 

Standard Lanciers. 

By permission of M. B. Gilbert, Pres. 

Adopted by the American Association, Sept. 5, 1895. 

Figure I. 

First four forward and back with the right hand 
couple. 
Turn opposite with both hands. 
Cross right hands by fours, circle half round. 
Left hands back to place. 
Balance to corners. Turn corner both hands. 

Fig. 2. 

All forward and back. 

Ladies forward to center. 

Gentlemen promenade around to the left. 

All circle to the left once around. 

Second and fourth time gentlemen to the center. 

Fig. 3. 

First four forward and back with sides on the right* 
Forward and salute. 
Four ladies' chain. 

Second and fourth time take gentlemen's arm and 
promenade around not crossing hands in the center. 

Last Fig.— Music No* 5. 

Grand right and left half around. 

Right hand to partner, turn half, and right and left 
to place. 

First couple face out, third and fourth fall in line. 

All slide four steps to the left. 

Balance forward with left foot. Balance back with 
right foot. Slide to right, balance forward with right 
foot, balance back with left foot. 

Countermarch right and left. 

All forward and back. Turn partners with both 
hands to place. 

Note. — The balance is made by stepping forward 
with left foot, (fourth position), point right to side, 
(second position). 

Note.— The fourth number is ommitted. 



-38— 
IMUIVIBEIR ISIIN£. 

Sheldon's Deer Park Lanciers. 

By permission of Prof. Sheldon. 

No. 1. 

(The Arches.) All forward and back 4 bars 

Leads join hands with couples to right and 
around 4 " 

(Arches.) Gentlemen take left hand of part- 
ners, ( leads face right, sides left,) pass under 
side over, alternate, until in places 8 '* 

All forward to corners and turn corner partners 8 " 
Second and fourth times sides to right. 

No. 2. 

(The Wreath.) All forward and back, ladies 
join hands 8 bars. 

Gents join hands and pass once around to right 
raising the arms pass right hand over head 
of partner, (forming wreath) 8 " 

All around to left and turn partners 8 " 

Four times. 

No. 3. 

(The Wheel.) All forward and back, salute 
opposite 8 bars. 

Ladies cross right hands, pass to opposite 
places, turn and cross left hands, giving 
right to partner and return to place 8 *' 

The gentlemen having gone to right to opposite place will take part- 
ner's hand, placing left on her shoulder, continue to place and salute. 

Four times. 

No. 4. 
(The Graces.) Side ladies give left hand to 

leading gentlemen, right to lady, thus joined 

forward and back twice 8 bars. 

Pass hands to front, forward and back again. . 4 " 
Three hands around and turn partners to place 8 ** 

Second and fourth times, leading ladies to 

sides. 

No. 5. 

(The Grand Square.) The square 16 bars. 

Leads forward and back, pass out to corners. . 8 " 

All balance in line, turn corner partners 8 " 

Forward and back, turn partners at place 8 " 

Turn corners 8 " 

Four times, finish with grand square. 



—39— 
IMUIVIBEIIR XNA/ELVE. 

American Nationai. Lanciers, 

As adopted by the National Association of Teachers of Dancing. 

Danced diagonal. 

No. 1. 

Address partners, address center 8 bars 

Heads (sides) forward and back 4 ** 

Forward and turn opposite lady 4 '* 

First and second couples pass through 8 " 

Address corners, turn corners 8 ** 

No 2 

Heads (sides) forward and' back 4 bars. 

Ladies in center, address 4 " 

Chassez, turn partners to places 8 ** 

Promenade around opposite couples 8 " 

No. 3. 

Heads (sides) forward and back 4 bars. 

Forward and address, returning to places 4 *' 

Ladies' chain 8 " 

No. 4. 

Heads lead to the right, address 4 bars. 

Exchange ladies, lead to the left, address. ... 4 " 
Exchange ladies, lead to places, address. .... 4 ** 
Right and left with side couples 8 " 

^ ^ . ^^ No. 5. 

Introduction, address partners. 

Grand right and left half round 8 bars> 

Turn and face partners, address, grand right 

and left to place 8 

First couple promenade, face out, sides lead in 8 

All glide to the right and back, twice 8 

Head couple down the center 8 

All forward and back,f orward and turn partners 8 

(First, third, second and fourth face out in rotation, Each num- 
ber to be danced four times, alternately by heads aud sides.) 



NUMBER THIRTEEN. 

TiSKE Lanciers. 

No. 1. 

Salute partners and corners 8 bars. 

First four forward and back to the right 4 " 

Forward again, exchange partners, ladies pass- 
ing across 4 " 

First four pass through, sides pass outside 4 " 

Sides pass through, first four pass to place 4 " 



—40— 

All balance to corners and turn once around. . 8 " 
Repeat — second times sides to right; third 
time first four to right, returning ladies to 
places in the set. 

No. 2. 

i^ irst four forward and back 4 bars. 

Lead to right, salute side couples, separate and 

form two lines 4 " 

Ladies of the first four passing to left of the 

gentlemen of side couples, gentlemen of first 

four passing to right of ladies of side couples 

All forward and back 4 " 

Forward again, sides step back to place 4 '* 

First four forward and back 4 " 

Forward aud return partners to place 4 " 

Repeat; second time with side couples, third 

time first four, fourth time with sides. 

No. 3. 

First four forward with side couple on the right 4 bars. 

Forward again and salute 2 " 

Step back to place 2 " 

Ladies chain with side couples 8 " 

Repeat; second time with sides, third time 
with first four, fourth times with sides. 

No. 4. 

Four ladies cross right hands, half around, dis- 
engage hands, salute gentlemen 4 bars. 

Cross right hands, back to place, salute partners 4 " 

Turn partners 4 ** 

All forward and back, turn partners to place. 8 ** 
Repeat; second time with gentlemen, cross- 
ing hands, third time with ladies, fourth time 
with gentlemen. 
Chords. No. 5. • 

Grand square 16 bars. 

Four ladies chain 8 *' 

Four ladies cross left hands half around 4 " 

Right hand back to place 4 " 

Retaining hand in center, give left hand to 
partner's right, forming a moulinet. All will 

march around to place 8 " 

Turn partners 4 ** 

Salute partners 4 '* 

This number is danced four times through, 
finishing with the grand square. 



—41— 

NUMBER FOURTEEN. 

Military Lanciers. 

By Prof. A. C. Wirth. 

No. 1. 

Address (A la Militaire) 8 bars 

First four grand right and left, (performed by 
two couples only) 8 " 

(When first four have almost finished the above, side four 
forward to center and form arches, third gent with fourth 
jady, fourth gent with third lady, and is called) 

Sides forward form arches, (Taking their time 

from the above.) 8 bars. 
First couple pass under the arch, second couple 

separate and pass outside 4 •* 

Second couple pass under, first couple outside 4 '* 
Turn corner with right hand, partner with left 

hand 8 " 

Sides repeat. 

No. 2. 

Introduction 8 bars 

All forward, gents in center back to back, ladies 

return to place 4 ■' 

Address, (gents A la Militaire, ladies courtesy) 4 ' 
Gentlemen chasse, and ladies sentinel march, 4 

(Gents four steps forward and four steps back to center, 
without turning, ladies march to corner of bet, turn to right 
and return to place. See diagram.) 

Turn partner to place 4 ** 

All join hands» forward and back 4 " 

Turn partners 4 " 

No. 3. 

Introduction 8 bars. 

All forward and back 4 '* 

Face partners, address (A la Militaire) and 

face the center of the set 4 *' 

Four ladies' grand chain 8 " 

, . No. 4. 

Introduction 8 bars. 

First four lead to the right, address (Militaire) 4 " 
Circle four hands half way around, address 

(Militaire) 4 " 

Half right and left, side four right and left, first 

four to place, sides to place 8 " 

Sides repeat, first four to left, etc. 



—42— 

No. 5. 

Address (A la Militaire.) Chord. 

Grand square i6 bars 

First couple promenade inside of the set, face 
out in place, third and fourth couple fall in 
line, face partners and address (A la Mili- 
taire) 8 " 

Cross over, address (A la Militaire same as 

chasse but use walking steps) 4 " 

Cross back, address (A la Militaire) 4 " 

Gents form arches, ladies march under 8 " 

(The first and third gent join hands nearest each other 
without turning, fourth and second gents the same, which 
makes two single arches. First lady lead, march through 
the arch formed by the first and third gent, turn to the 
right and march through the other arch, and all face part- 
ners in two lines.) 

Forward and back in two lines 4 " 

Turn partners to place 4 ** 

Third, second and fourth couple promenade inside of the set in 
the order named. 

Notes.— All the walking steps must be taken with a military air 
and precision. 

Each number to be played four times. 

Address only at the beginning of the first and fifth figure. 

Explanation of the Military Address.— Gentlemen raise the 
(usually) right hand, touch tips of fingers just above the temple, then 
carry the hand out diagonally from the head about twelve inches and 
drop the arm to the side. 

Ladies courtesy. 

DIAGRAM. 




To be performed as though the set was perfectly 
square. 



—43— 
NUMBER FIFTEEN. 

Gulf City Lancers. 

Figures arranged by C. F. Cheesman for any Lancer music. 

No. 1. 

Heads forward, back, with right side couples, 4 bars. 

Forward again and turn opposite 
with both hands and stop in two ^ o 
diagonal lines close to each other ^'^o 
thus: o V^ 4 " 

All step one step diagonaly forward o^ 
with left foot ( which bring all in ^ 

line) and back with right, twice o 4 " 

Turn opposites with both hands and all back 
to places 4 " 

All turn partners completely around with right 
hands and go to corners and address 4 " 

Turn corners with right hands and back to 

places and address 4 " 

Second and fourth times heads to the left. 

No. 2. 

All forward to the center and back 4 bars. 

Turn partners with right hands and ladies go 
to the center, face partners and address 4 '* 

Dos-a-dos. (Ladies going back to center) 4 " 

All go to the right. (4 steps) Lady and gent 
meeting at corner of set 2 " 

Gentlemen give right hand to new partner's 
left and return to place, (facing each other) 2 " 

All promenade one-half around; gentlemen "o 
the right, outside, and ladies to the left inside 4 " 

/Vhen meeting new partners opposite, gentle- 
men give right hands to lady's left and 
continue the promenade around to gents' 
place together 4 '* 

Repeat three times to regain original partners. 



—44— 

No. 3. 

All forward to the center 2 bars. 

Each gentleman turn lady on his left with 
right hand 2 '* 

Take partner's right hand with his left and go 
to place and address 2 " 

All forward to the center and stop, facing part- 
ners 2 " 

Ladies half double chain and gents promenade 
around to the right 4 " 

Meet partners opposite to places, turn them 
half around with left hands and gents half 
double chain to places and ladies promenade 

around 4 " 

Repeat three times. 

No. 4. 

Heads forward to the center, change partners 
and go to sides and address 4 bars. 

Side couples pass between head couples and 
right and left (without turning) to opposite 
place 4 " 

At same time head couples turn half around with left 
hands and stop in side couples place and address. 

Side four lead to the right and all address 

present partners 4 " 

Pass partners and go to corners and address. . 4 '* 
Gentlemen take corner ladies' left hand with 

his right and go to center 2 " 

Back to place with last partner, turning half 

around with left hand , 2 " 

Repeat three times to regain original part- 
ners. Second and fourth times sides go to the ' 
center. 

No. 5. \ 
All go to the corners, ladies to the right, gen- 
tlemen to the left 2 bars.. 

Gentlemen take corner lady and go to the 

center 2 *' 

Take partners and go to place 2 " 

Turn partners half around with right hand. . . 2 " 
Repeat same with the other corners 8 " 



—45— 

Head couples promenade around ^ ® 

each other and sides fall in, 3rd ^ ^ 

behind ist and 4th behind 2nd. . ^ x 

The two lines face each other and back and 
forward twice 

All face the center and march in L g 
opposite direction, side couples ^ 
leading, thus: >< 

All turn partners half around with right hand 
and address 4 

Turn partners with left hands and all to places 4 
Second and fourth times, sides promenade 
around. 



NUMBER SIXTEEN. 

St. George Lancers. 

Composed and Arranged by C. Elhvood Carpenter, 
Can be danced to any Lancer music. 

No, 1. 

Introduction; Salute partners and corners 8 bars 

Position to commence — Heads face sides on right; sides 
face heads on left. 

Right hand across, turn half around, salute. . . 4 '* 

Left hand to partner, turn half around, salute 

partner 4 " 

All face center, forward and back, turn part- 
ners to nearest place 8 " 

All waltz around with partners 8 " 

Note — The leads and sides are now in opposite places; leads again 
face right and sides left and repeat figure, the fourth time will bring 
all to original places. 

No. 2. 

Introduction 8 bars. 

Position to commence — Sides separate and form hnes 
with leads. 

All forward and back 4 '* 

Four ladies cross right hands and promenade 
around 4 " 

Four gentlemen cross left hand and prome- 
nade around, and turn parners to places. . . 8 " 

All: Four ladies cross right hands and all 
promenade half around, reverse; four gen- 
tlemen cross left hands and all promenade 
to place. 



-46- 

No. 3. 

Introduction 8 bars. 

Promenade slowly all toward the right around 
quadrille until in opposite places. All salute 
centre 8 " 

All waltz to places with partners 8 " 

Note — First and third time as described. Second and fourth time 
promenade to left. 

No. 4. 

Introduction 8 bars. 

Leads forward to right and face sides, salute. 4 " 
Back to opposite places and salute partner. . . 4 " 

Face sides on right. 4 •* 

Forward and back, then cross over, with sides 8 " 

Side couple (now in leads' place) repeat figure, doing the forward 
and back movement with leads on right. Fourth time will bring all 
to places. » 

^, . No. 5. 

Introduction. Chord. 

Position to commence — All take hands. 

All forward towards center and back 4 bars. 

Waltz around with partner 4 

All forward and back 4 

Waltz around with partner 4 

First couple promenade around inside of qua- 
drille and face outwards 8 

All form in line and cross hands with partner. 

All forward (four steps) 2 

Turn half around, forward again (four steps) . . 2 
Turn half around, facing as first, forward again 

(four steps) 2 

Turn half around, forward again (two steps) . . 2 

Note — The above movement is executed without letting 
go ot hands. 

March: — All forward march. (Four steps). . . 2 
Gentlemen face left, and ladies right, march 

(four steps) 2 

Gentlemen again face left, ladies face right, 

march, (four steps) 2 

All face partners, forward and back 4 

All forward and turn partner to place 4 

Note — Figure is danced four times. Each couple in turn. 



—47— 
NUMBER SEVENTEEN. 

Cadet Lancers. 

As taught by Prof. F. L. Clendenen. 

No. 1. 

Introduction 8 bars. 

First four forward and back .4 " 

Forward again, form arches 4 " 

First couple promenade through arches second 

couple outside 8 " 

All balance and turn 8 " 

Sides repeat. 

Note — This number does not come out with same call to each 
strain. 

No. 2. 

All forward and back 4 bars. 

Forward again, ladies in center 4 

Gentlemen promenade outside 8 

Turn partners to place 4 

Sides separate forward in two lines 4 

Turn to place 4 

No. 3. 

Do not use. 
No. 4. 

First four lead to the right, sabUe 4 bars. 

Four hands half round, salute 4 " 

Half right and left fo places, salute 4 " 

Ladies' chain 8 " 

Sides repeat. 

Repeat again and lead to the left. 

No. 5. 

Salute. 

Grand right and left 16 bars 

First couple face out, sides form in lines. ... 8 " 
Face partners, give right hands, cross over. . . 4 " 

Left hands back 4 ** 

Each two gentlemen form arches, ladies march 

through first arch, back through last arch. . 16 " 

All forward and back 4 " 

Turn to place 4 " 

Repeat four times. 



■—48— 

NUMBER EIGHTEEN. 

Waltz Lanciers. 

No. 1, 

First four forward and back 8 bars. 

Forward and turn the opposite 8 " 

First couple waltz between the opposite i6 ** 

First four waltz i6 " 

No. 2. 

First four forward and back 8 bars. 

Forward and turn lady to center 8 

Four chasse 8 

First four waltz i6 

Form lines with first four 4 

Forward and turn to places 8 

No. 3. 

First four forward and back 8 bars. 

Forward again and salute 4 *' 

Return to place 4 " 

First four waltz i6 " 

No. 4. 

First four lead to the right, two gents exchange 

places 8 bars. 

Two ladies chain 8 " 

Forward all, turn to place 8 " 

All, waltz i6 " 

No. 5. 

Grand right and left half around 8 bars. 

Turn one half around and return 8 " 

First four forward and back 4 " 

Forward again and salute 4 " 

Return to places 4 " 

All balance to corners, turn corner lady to 

gentleman's place 8 " 

All waltz around hall. 



—49— 

NUMBER NINETEEN. 

De Gormo. 

No, 1, 

First four right and left 8 bars. 

Balance four and turn 8 " 

Ladies chain 8 ** 

All waltz i6 •' 

No. 2. 

First two forward and back 4 bars, 

Cross over 4 ** 

First four forward and back 4 " 

Turn to place 4 " 

All waltz i6 " 

Repeat three times. 

No. 3. 

First four cross over with right hand 4 bars 

Back with the left 4 " 

Balance in a square 4 " 

Turn to place 4 " 

All waltz i6 " 

Repeat. 

No. 4. 

Four ladies forward and salute 4 bars.. 

Four gentlemen the same 4 " 

All chasse and turn corners with right hand. . 8 " 

qj { Turn partner with left hand 4 " 

^ ^ 1^ Grand right and left half around. ... 4 " 

Quick time to place. All galop around hall. 



RART FOUR. 

Waltz Ouadrille. 
No- 1. 

First four forward and back 4 bars. 

Ladies half chain 4 

Chasse all 4 

Four ladies cross hands, circle half around. . , 4 

Turn partners to places 4 

First couple lead to the right 4 

Four hands round to place 4 

Same four waltz. 

Sides repeat. 



-50— 

No. 2. 

First two gentlemen forward and back 4 bars. 

Lead to the left and salute 4 

Take side lady and retire to place 4 

Forward six 4 

Circle half around _ 4 

Side gentlemen cross over 4 

Grand right and left to place 8 

All waltz. 

No. 3. 

First couple face out, others fall in back 8 bars. 

All face partners, salute 4 " 

Two center couples double chassez 4 " 

Forward all and turn to place 4 ** 

First four waltz. 
Repeat four times. 

No. 4. 

First lady turn opposite gentleman with right 

hand 8 bars. 

Side gentlemen with left hand 4 

Opposite with right hand 4 

Partner with the left 4 

First four forward, cross hands, circle to place 8 
Side four forward, cross hands circle to place. 8 
All waltz. 



ISJUIVIBEIR TNA/O. 

POLACCA. 

As called by Charles Hoffman. 

No. 1. 

(Introduction) All join hands, take four steps 
to the left, turn partner half round, four 
steps to the right 8 bars. 

All waltz to places 16 " 

FIGURE. 

First four forward, change ladies 4 " 

Two gentlemen cross over 4 " 

Four ladies cross hands, stop and balance 4 " 

All turn partners 4 " 

First two ladies cross over and waltz to place 8 ** 



—51— 

No. 2. 

(Introduction) Grand right and left half round 8 bars. 
All waltz to place i6 ** 

FIGURE. 

First four forward, change ladies and lead to 
sides 4 ** 

Change ladies and waltz to gentleman's place 4 " 
Sides the same. 

All waltz 16 ** 

Repeat. 

No. 3. 

(Introduction) All give left hands to partners, 

promenade half around 8 bars. 

All waltz to place 8 " 

FIGURE. 

First couple lead to the right 4 " 

Cross right hands around 4 *' 

Join left hands over the right, and all waltz 

around 4 " 

Change partners and waltz to next couple 4 " 

Execute the same with each couple. 

No. 4.. 

(Introduction) Turn partner with right hand 8 bars. 
All waltz 16 " 

FIGURE. 

First four forward, pass through, giving right 
hand to opposite and left to partner 8 " 

Turn with left hand, keep hands Joined and 
join with sides, turn with left hand 8 '* 

Take partners, first four waltz to places 16 " 

Repeat. 

No. 5. 

(Introduction) Ladies' grand chain 16 bars. 

FIGURE. 

Gentlemen all face left hand lady and march 

Half round 8 " 

Turn half and back to place 8 *' 

All waltz around to gentleman's place 16 " 

Each time changing partner. 
Repeat four times in all. 



—52— 

RART" RIVI 



VARIETIES. 

The Chautauqua Square 

Awarded Gold Medal by National Society of Masters of Dancing. 
By permission of Prof. R. G. Huntinghouse, Chicago. 



All address the cente7\ (count 1,2,3,4,5,6,) assumes Jii'st pose 
Ladies pass under arm and courtesy to partner from cen- 
ter (i, 2, 3, 4, 5, 6,) cross left hands (i, 2, 3, 4, 5, 6,) 

TEMPO Dl POLKA. 

Polka around in a star, [4 bars.] 

Turn gentlemen to center with right hand and courtesy 

[4 bars J 
Gentlemen cross left hands, polka in a star, [4 bars.] 
Turn partner with right hand in place, [4 bars.] 
Grand right and left, [16 bars.] 



Face partners, join hands nearest center of set, 
TEMPO Dl MflRClfl. 
Move one step towards center, side wise (t, 2.) 
Other foot to fourth position fronc, (3, 4.) 
Move in opposite direction, (i, 2, 3, 4.) 
Repeat to center, (i, 2, 3, 4.) 

Turn on ball of standing foot, (facing center) draw other 
foot to fourth position behind, turn head under arch 
formed by the arms and look at opposite couple, (1,2,3,4 ) 



Swing arms around below and up in front, face out. 
Move outside foot to fourth position front, (i, 2,) bring 

other foot to third position behind point, (3, 4.) 
Step backward, same movement, (i, 2, 3, 4.) 
Forward again, (i, 2, 3, 4.) 

All face about and courtesy to center, (i, 2, 3, 4.) 
All join hands in a circle. 
TEMPO Dl SPflNISH WALTZ. 
One step to left, cross right foot in front, hop to left, (1,2,3.) 
Repeat to right and left, in all eight bars. 



—58— 

Right hand to parners, holding high, se7ni-ci7'cle inoveinent. 
TEMPO DI WALTZ. 

Each couple dance separately, give right hand and semi- 
circle partner, three steps, (one to bar of music) beginning 
with left foot, assemble on fourth count, (4 bars) (count 
I, 2, 3, 4,) forward and back, balance, (4 bars), repeat 
semi-circle in opposite direction, giving left hand and 
begin with right foot 
Note — In this movement both dancers always begin semi-circle 

with outside foot ; balance with inside foot. 

Lady pass partner and courtesy to the next, to the left. 
Assume first pose with new partner: 

Repeat all of above three times before regaining original 
partners, then Coda. 

TEMPO Dl GALOP. 
CODA. — Head couples separate and join sides, forming 

lines with side couples. 
Lines forward, (i, 2, 3, 4,) Tap three times with right 

foot, (i, 2, 3, 4.) 
Lines retreat, (i, 2, 3, 4.) One couple to right, one to leit, 

form lines crosswise, (i, 2, 3, 4.) 
Forward, ( I, 2, 3, 4 ) Tap, (i, 2, 3, 4.) Retreat, (1,2,3,4.) 
Face partner, assuMfce waltz position, (i, 2, 3, 4.) 
General Waltz, (96 bars.) 



IMUIVIBEIR T\A/0. 

National Quadrille. 

By permission of Prof. C. A.Wirth, Milwaukee. 

Adopted by the American National Association of Masters of 
Dancing, 1894. Copyrighted. 

No. 1. 

Address. 8 bars. 

First four forward and back 4 * ' 

Half right and left 4 " 

Sides four forward and back 4 " 

Half right and left 4 " 

All Berlin (hands joined with partner commencing 

toward the center of the set) 4 " 

Glide polka to place 4 " 

All glide polka around the set 8 " 

Repeat: Side four commencing. 



—54— 

No. 2. 

Chord. 

First couple waltz inside of set t6 bars. 

Grand right and left half-way around 8 " 

Waltz to place 8 " 

Third, second and fourth couple waltz inside of 

the set in the order named. 

No. 3. 

Chord. 

All forward and back 4 bars. 

Four ladies half chain 4 " 

All join hands, forward and back 4 *' 

Circle to the left, one half way (keep hands joined 

in circle). 4 '* 

Heel and toe polka, all begin with left foot, (move 

to the left, then to the right, not forward) 4 ** 

Promenade to gents place. March position 4 ** 

All glide polka around the set 8 " 

No. 4. 

Chord. 

Grand right and left (or grand square) 16 bars. 

First four half right and left 4 " 

Side four half right and left. . 4 ** 

All Berlin 4 '* 

Glide polka to gents place 4 " 

All forward and back 4 " 

Address partners 2 " 

Ladies lead to the right, address 2 ** 

Take waltz position with new partner 3 ** 

All waltz around the set to gents place 16 ** 

The ladies lead to the right each time that the 
figure is danced through until they gain their 
original places and partners, then waltz around 
the hall to finish. 
Repeat the waltz a few times for finish. 

Note. — The heel and toe movement in the 3rd Figure is to be done 
to the side, viz: Extend left foot to fourth position, touch heel, (i), 
extend same foot back to fourth position, touch toe. (2), one measure 
then original polka step to the left, one measure, repeat with right foot 
in all four measures. 

The Berlin is danecd the same every time it is used, commencing 
toward the center ot the set. Ladies begin with right and gentlemen 
with left foot. Special music. 



—55— 
NUIVIBEIFR TMREIE:. 

Prof. Sheldon's Presidential Polka Quadrille. 

No. 1. 

Ladies on the head give right hands and turn 4 bars. 

Left hand to partners and turn 4 ** 

Leads polka 8 " 

Turn corners ! 8 * * 

All polka.... 8 '* 

Sides the same. 

No, 2. 

Firsr couple polka 8 bars. 

Ladies' chain 8 " 

All polka o 8 " 

Repeat, third, second and fourth, 

No. 3. 

Leads promenade around each other and pass to 

couple on right of their place 8 bars. 

Cross right hands, change partners and pass to gen- 
tleman's place 8 * * 

Leads polka 8 " 

All polka 8 " 

Sides same and repeat. 

No. 4. 

First and third couples right and left 8 bars. 

First polka 8 " 

Leads polka 8 " 

All polka 8 " 

Third and second, second and fourth, fourth and 

first. 

No. 5. 

All forward and back 4 bars. 

Ladies one place to the right 4 " 

Ladies double chain. 8 " 

Turn corners 8 * ' 

All polka 8 ** 

Repeat until all are in places, after which all 

polka to seats. 

The couples are numbered: 



—56— 
NUIVIBEIR ROUR. 

Parisienne. 

No. 1. 

First couple lead to right and salute 4 bars. 

Lead to left and salute 4 •' 

First four right and left 8 " 

Then all waltz 16 " 

Each couple follow as first. 

No. 2. 

First two forward and back 4 bars. 

Turn partner with right hand half round 4 " 

Forward again and back 4 ** 

Turn partner to place with left hand 4 " 

All polka to right 16 " 

Dance four times. 

No. 3. 
First gentleman invites each lady to center. . 8 bars. 

Ladies all circle round the left 8 " 

Four gents turn partners to places 4 ** 

All waltz to places and back; dos-a-dos 16 ** 

Dance four times. 

No. 4. 

First couple turn with both hands . 4 bars. 

Moulenet of three at corners 4 " 

Forward two 4 " 

Chassez to right, turn partners to places with 

left hand 8 " 

First four redowa across the set and stop 4 " 

Side four and stop 4 " 

First four to places and then side four to 

places 8 " 

Dance four times. 

No. 5. 

First two forward and back 4 bars. 

First four salute to partners and chassez back 4 ** 

Forward eight in lines 4 " 

Four ladies form a star and give left hand to 

partners, all balance 8 " 

Gents waltz to next lady, etc., until you come to your 
partners, then all waltz. 

Dance four times. 



—57— 
IMUIVIBEIR! RIVE. 

Prairie Queen Quadrille. 

First Figure. — Intro. 8. Bars. 

First four forward and back, ladies half chain 8 
Sides four forward and back, ladies half chain 8 

All forward and back, circle half around 8 

Grand right and left, promenade to places 8 

Waltz (all waltz) 8 

Play twice, second time, side four, etc. 

Second Figure. — Intro, 8 , 

First four forward and back, lead to right, sa- 
lute (leave lady with side four) . 8 

Gentlemen cross over, forward six, six hands 
half around 8 

First two gentlemen forward and back, take 
partners to places 8 

Sides four forward, right and left fo places 8 

Polka Redova. 

Play twice, second time, sides four, etc 

Third Figure . — Intro . 8 . 

Four ladies cross right hands, give left hand 
to partner's right, promenade in star to place 8 

First couple lead to right, change ladies, to the 
next, change ladies, to places, all balance and 

turn 8 

Polka. 

Play four times, second time next couple to 

start to change ladies. 

Fourth Figure. — Intro. 8. 

First gentleman turn opposite lady with right 
hand, sides with left, opposite sides with 

right, left hand to partner i6 

Balance all, grand right and left all around. . . i6 
All join hands, ladies face out, all chasse 

across i6 

Galop, galop with same lady. 

Four times, last time repeat galop around hall. 



— SB- 
Varieties Quadrille. 

No. 1. 

Address partners and center 8 bars. 

Grand right and left half way around 8 *' 

First four dance the two-step across and back 8 " 

Four ladies forward and back 4 " 

Four gents forward and back 4 ** 

Note — All are on opposite sides. All dance two-step to original 
place to first eight bars of the music. Repeat by sides, ending with 
first strain. -- ^^ 

No. 2. 

Address partners and corners 8 bars. 

First lady and opposite gentleman forward and 
back 4 " 

Forward again, turn with right hands, (moving 
backward between the side couple.) First 
lady between third couple, second gentleman 
between fourth couple 4 " 

Forward and back six 4 " 

First lady and second gentleman forward, turn 
with left hand to places 4 " 

First four two-step across and back 8 " 

Play four times, ending with first strain. 

No. 3. 

First gentleman and opposite lady forward and 
turn with right hand, turn partner with left, 
gent remains in center 8 bars. 

Four ladies join hands around the gentlemen, 
circle half way, and back to places 8 " 

All redowa or york around to place 8 " 

Play four times ending, with first strain. 

No. 4. 

During the last two bars of the introduction the side ladies join 
the heads. 

Forward and back six; ladies pass to side get- 

tlemen 8 bars. 

Forward and back six, ladies pass to head 

gentlemen 8 " 

Forward and back six, ladies pass to side. . . 8 " 
Forward and back six, ladies pass to places. . 8 " 
WALTZ TEMPO. 

Four ladies forward and back 4 " 

Address partners 2 " 

^11 waltz i6 " 

Pepeat by sides, end with waltz 



-o9 — 

No. 5. 

fntroduction 4 bars. 

First four galop to center and back, then two- 
step across 8 " 

Sides the same 8 " 

Heads repeat to place 8 " 

Sides repeat to place 8 " 

All b^larrce to corners, and every lady to the 

right 8 " 

All dance two-step around 8 " 

Dance four times through. 

Explanation of Figure No. 4. — When ladies pass to the sides, 
the gentleman has two ladies, one on each side, let the lady on the 
right pass to the left gent, lady on the left pass to the right. 



^^^ Music for the Quadrilles ^published in this book 
may be obtained from the authors of the dances. 
They can also be obtained at our Academy . 



r^easure of Music per Minute. 

But a small percentage of our orchestras can per- 
form the exact time without the use of a metronome. 
For quadrilles. 2-4 or 6-8 time, 60. 
For polka, 60. 

For polka redowa, 3-4 time, 4$. 
For schottische, 4-4 time, 45. 
For waltz gallop, 2-4 time, 45. 
For glide waltz, 3-4 time, 62. 
For mazurka, 3-4 time, 58. 



People seldom impiove where they have no model but themselves 
to copy Siitex . — Goldsm ith , 



—60— 

Two Step Quadrille. 

By permission of H. R. Easier, Pittsburg, Pa. 

Adopted by the American Society of Profetsors of Dancing, 
September, 1894. 

No. 1. 

Head couples two step across and back 8 bars* 

All forward and back 4 ** 

All forward again 2 " 

Gentlemen take left hand lady back to place. 2 " 

All two step with new partner 8 " 

Repeat three times. 

Note.— In this figure, the head couple should two step across 
and back the first and second time ; the sides, the third and 
fourth time. 

No. 2. 

Head couples two step across and back 8 bars. 

Side couples two step across and back S " 

All forward to centre (2 bars), ladies^turn and 
join hands in centre (forming circle) facing 
partners, gentlemen retire to place, (2 bars) 4 " 

Four ladies two step to the right (i bar), turn 
the gentleman fronting them with the left 
hand (3 bars) 4 " 

All dance around with new partners 8 " 

Repeat three times. 

iNo. 3. 

All change places a quarter around, ladies to 

the right and gentlemen to the left 4 bars. 

Turn that partner with both hands 4 

All two step around the set with new partners 8 

All forward and back 4 

Four ladies return to their ov/n places 4 

All dance two step with new partners 8 

Repeat three times. 

Note.— The four ladies go a quarter around to the right and 
back to their places four times; the gentlemen go around the 
set to the left, dancing twice from each station. 

The two step is used all through the Quadrille, except in the 
third figur*^, where the dancers change places ; and in the for- 
ward and back, the Walking step is used. Music sent for 40e. 



—61— 

MONTIBELLO QUADRILLE. 

By Prof. C. A. Carr. 

No. 1. — Forward. (8 measures introduction, ad- 
dress partners and corners.) (Four) ladies balance 
to the right and salute [4 bars]; balance to (the) next 
and salute [4 bars]; next [4 bars]; balance (to) part- 
ners and salute [4 bars]; first four forward and back 
[4]; half right and left [4]; sides forward and back 
[4]; half right and left [4]; all forward and back 
(twice) [8]; circle half around [4]; swing partners [4]. 

(Repeat with sides.) 

No. 2. — (8 measures introduction.) First four for- 
ward and back [4]; two ladies' half chain [4]; for- 
ward (again), two gents cross over [8J; balance (to) 
partners and turn [8]; all chasse, right hand to 
corners, salute [4 bars]; chasse back, left hand to 
partner, salute [4 bars]; first four forward and back 
[4]; half right and left [4]. 

(Repeat with sides ) 

No. 3.— (8 measures introduction.) Gents cross 
right hands, left to partners (and) balance [4]; swing 
ladies to center [4]; ladies hands around [4]; gents 
promenade to the right [4]; balance partners (and) 
turn [8]; four ladies' chain [8]; balance corners (and) 
turn [8]; all promenade (with own partner) [8]. 

(Twice or four times. Second and fourth times 
ladies cross hands.) 

No. 4. — (8 measures introduction). First couple 
forward, leave lady in the center [4]; second couple 
the same [4]; third [4]; fourth [4]; four ladies join 
hands, circle to the right [4]; (four) gents join hands 
with ladies [4]; all balance (and) swing [8]; four 
ladies forward and back [4]; four gents the same [4]; 
all join hands, forward twice [8]. 

(Twice.) 

No. 5.— (8 measures introduction.) First four half 
right and left [4]; side four half right and left [4j; 
first four (back) [4]; side four (back) [4J; head gent 
lead lo the right and change ladies, lo next, next, to 
place [8]; balance all and swing [8]; march (arm in 



—62— 

arm half around), turn (and) march back (to places) 
[16]. (Four times. Last time march to seats.) 

Note.— The first part of thi.s figure is to be played very 
fast until the march, which is the reverse, quite slow. (Nos. 
2 and 4 are seldom danced. 



DIXIE FIGURE. 

By Professor C. A. Carr. 

Figure Cheat.— (Can be introduced for No. 2, 3, 
or 5.) Head lady lead to the right [4]; balance, 
swing or cheat [4] ; balance to next, swing or cheat[8] ; 
balance to next, swing or cheat [8]; balance part- 
ners, all [4]; swing [4]. 

(Repeat with third, second, and fourth lady and 
fourth lady and four gentlemen.) 

Note.— It is optional with the lady leading off from her 
place to swing any gentleman in the set, as the plan is to cheat 
the gentleman balanced with. 

Basket.— (Can be introduced as No. 3, 4, or 5.) 
Allemande left [8]; gents turn ladies into the center 
with right hand [4]; all join hands (with partner) 
and balance [4]; ladies about face, gents form (thej 
basket (over the ladies) [4] ; all balance (as you are) [4] ; 
all chasse (to the right) [4]; turn partners [4]. 

(Twice or four times. Second time gents into 
center.) 

Dixie.— (Can be introduced for No. 3 or No. 5.) 
(8 measures introduction.) (The) first lady walk 
around [8]; (the) opposite gent walk around [8]; all 
walk around [16]; balance all (and) swing [8]; Alle- 
mande left [8]. 

(Four times, then) 
four ladies walk around [8]; four gents walk around 
[8] ; all walk around [16] ; balance all (and) swing [8] ; 
Allemande left [8]. 

VIRGINIA REEL. 

By Professor C. A. Carr. 

Six couples in a set, ladies on one side, gents opp-o 
site, ladies' right hand is the head. 

(The first call when music begins.) Head lady and 
foot gent, forward and back [4]; next (or head gent 
and foot lady) [4]; swing with (the) right hand [4]; 
next [4]; swing with (the) left hand [4]; next [4]: 



-G3— 

(swing with) both hands [4]; next [4]; dos-a-dos [4]; 
next [4]; head couple down the center and back [8J; 
reel oif (right hand to partner, next left) [32]; up the 
center [4]: countermarch [8]; forni arch (join hands 
and raise them, the other couples passing under) [8], 
(Once for each couple.) 

MONEY MUSK. 

By Professor C. A. Carr. 

Six couples in a set, ladies on one side, gents oppo- 
site. Ladies' right is the head. 

(The first call when music begins.) Head couple 
swing once and a half around [8]; go between the 
second and third couple, and forward six [4]; swing 
three-quarters around [4]; forward six [4]; swing 
three-quarters around [4]; right and left (or double 
chasse) [8]. 

(After the head couple has passed the third couple, 
call: Head couple swing once and a half around. 
Repeat as often as desired.) 

OLD DAN TUCKER. 

By Professor C. A. Carr. 

A circle around the room, one or more Tuckers in 
the center without partners. 

(The first call when music begins.) All balance to 
Tucker [4]; Allemande left [8]; grand right and 
left [16] ; promenade all [8] ; all forward and back [4] ; 
all join hands, circle to the left [8]. 

(Repeat as often as desired.) 

HIGHLAND TWO-STEP. 

By Permission of Prof. C. A. Carr. 
INSTRUCTIONS. 

Position— Facing, with hands raised as in High- 
land Fling; slide left foot to second position [count 
1], bring right foot up quickly, chasing left foot to 
second position again [count 2], draw back to third 
position raised [count 3], pass left foot back to fifth 
position raised [count 4] ; step left foot to second posi- 
tion [count 5], draw right foot to fifth behind raised, 
[count 6], pass right foot to second [count 7], right 
foot to third position raised [count 8]; repeat the 
same with right foot. (Four measures Two-Step.) 



—64— 

««LA VETA." 

By permission of Prof. C. A. Carr. 

Position — Face partner; gent gives left hand to 
lady's right; raise hands forming arch. Gent step 
with left foot to second position [count 1]; draw right 
foot to third position [count 2, 3] one measure. 

Step left foot to second position again and pass the 
right foot by to fourth position, turning one-quarter 
round [count 1, 2, 3]. 

Change hands, facing forward, rock forward [1, 2, 
3], and back [1, 2, 3]. Immediately pass right foot 
back and left foot forward to fourth position and 
walk three steps counting 1, 2, 3 to each step (a la 
minuet); pass right foot back of left foot; third posi- 
tion, face partner and salute. 

Re-commence with right foot, repeating the above, 
after which waltz sixteen measures. Counterpart 
for lady. 

' Note.— In taking the draw step, the body should grace- 
fully sway to the right or left, in keeping with the character of 
the movement. 

Special Arrangement 
Orchestra, 75c. for Piano* 40c. 

THE GILBERT. 

By permission of Prof = C. A. Carr. 
PART I. 

Position — Facing partners. Slide left foot to side 
second position [count 1], bring up right foot to third 
[count 2], pass left second raised [count 3], bring 
back left foot to third raised [count 4], slide left to 
side [count 5], bring right to third [count 6], step 
left foot back fourth position [count 7], pass right 
foot to second position, draw left to right, [count 8], 
repeat the same with right foot, then waltz 4 meas- 
ures. Counterpart for lady. Dance moderate. 
Special Arrang:ement for Piano, 40c. 



THE SCHILLER. 

By Prof. C. A. Carr. 
PART I. 

Position — same as Berlin. Lady and gent using 
same foot, raise left foot to fourth position, toe point- 
ing toward the floor, and immediately bring foot to 



— G5— 

fifth position raised [count 1]; repeat the same [count 
2], Dass left foot to second position, bringing right 
foot up [count 3]; left foot to second again, passing 
right to fourth position raised [count 4]. Repeat 
same with right foot, making four measures. 

PART II. 

Polka forward with left foot, one, two, three, bring- 
ing right foot in front, third raised [count 4]; repeat 
polka with right foot, then walk forward, left, right 
(one, two, three), and pause with partial salute, 
(four), leaving left foot in position to recommence. 
Special Arrangement for Piano, 50c. 



DANSE "LE.BIJOU,"THE JEWEL. 

By Permission of Prof. Jos. Gearen. 
DESCRIPTION OF DANCE. 

Position. — Couple stand side by side, both facing 
in the same direction, gentleman holding lady's left 
hand in his, right, hand raised to height of shoulder. 
PART I. 

Music 6-8 time. Count two in a measure. 

Gentleman glide left foot forward [count 1], bring 
right to left and glide left forward [count 2]. Glide 
right forward [count 1], bring left to right, glide right 
forward [count 2]. Take three walking steps in the 
same direction, commencing with left foot [count 1], 
right [2], left [3], raise both heels from the floor and 
turn on the balls of both feet to the right, facing each 
other [count 4]. 

PART II. 

Join both hands. Gentleman glide right foot side- 
ways to the right, [count 1], bring left to right and 
glide right to the right [count 2]; one bar of music. 
Bring right to left, glide left to left [count 1]; bring 
right to left, glide left to the left [count 2]. (This is 
the racquet step.) 

Join right hands raised to shoulder. Take three 
walking steps around to opposite places; count left[l], 
right [2], left [3], turn on the balls of both feet on 
the third count and face each other, bring right foot 
to left and salute [count 4]. Gentleman take lady's 
left hand in his right and repeat all the above parts 
in opposite direction, then waltz 16 bars. 



—66- 



EXPLANATION. 



Before going in to the waltz the music pauses, 
whereupon the gentlenian glides left foot forward, at 
the same time taking lady's right hand in his left, 
bring right forward, pass right hand to lady's waist 
and waltz, stopping in the first position. 
Piano Solo, 50c; Orchestra, 75c. 



THE AURORA. 

By Permission of Clifford G. Sweet. 

Position.— Gentleman holds lady's right hand in 
his right and carried well back, dancers facing for,- 
ward and toward one another, or diagonally forward; 
gentleman points left and lady right toe forward; 
this position is taken slowly while music plays slow 
measure as indicated in music of **Aurora.'' 

STEPS FOR PART I. 

Slide left foot forward [count 2]; change [3]; step 
forward on left [4], carry right, forward to fourth 
raised position [5]; hop onleftbeatingwath right [6]; 
step forward on right [7]; carry left forward to 
fourth raised position [8]; hop on right [9]; step for- 
ward on left [10]; carry right forward to fourth 
raised position [11]; hop on left [12]; 4 measures. 
Couples turn to face backwards on last hop or twelfth 
count; repeat above steps beginning with other foot, 
going in opposite directions but retaining right hands 
all through first part, 4 measures. 

PART II. 

Waltz position, turning as in waltz with following 
steps: slow slide [1, 2] on left; change [3]; step on 
left [4]; rest [5]; hop [6]; second measure a la hop 
waltz; slow slide on right [7, 8], change [9]; regular 
waltz-step, slide, change— for [10, 11, 12]. 

Note.— The change in description is a displacing like 
third movement in the waltz. In making the hop in this dance 
do not leave the floor hut make the movement more like a ris- 
ing on ball of foot. 

For Piano, 40c; for Orchestra, 50c. 



THE NATIONAL PARK QUADRILLE. 

By permission Clifford G. Sweet. 

EXPLANATION. 

The set is formed the same as ordinary quadrille. 
Each gentleman has two partners, one at his riglii 
und one at his left. Polka or plain quadrille steps 
may be used, according to the ability of the dancers. 

Introduction to !Nos. 1 and 3. Four gentlemen step 
to centre of set, face and salute partners and return 
10 places. 

Introduction to Nos. 2 and 4. All join hands and 
salute to centre of set. 

FIGURES. 

No-. 1. — (Introduction). Two head gentlemen turn 
right hand lady [4 bars]; two head gentlemen turn 
left hand lady [4 bars]; half promenade with left 
hand lady [4 bars]; half right and left to place 
with right hand lady [4 bars]; four gentlemen turn 
left hand lady to centre of set [4 bars]; polka with 
right hand lady [12 bars]. 

Play twice for heads, then for sides. 
Note.— Use glide polka in dancing around the set. 

No. 2. — (Introduction). Heads forward and back, 
leave ladies in centre, back to back [8 bars]. 

Note.— Gentlemen step back to places. Ladies face their 
own place. 

Chasse four steps forward and back [4 bars]; three 
hands around to places [4 bars]; four grentlemen 
turn left hand lady to centre, etc. [16 bars]. 

Play twice for heads, then for sides. 

No. 3.^(Introduction). Heads forward and back; 
Turn opposite and back to places [8 bars]; all join 
hands, forward and back [4 bars]; three hands 'round 
10 places [8 bars]; four gentlemen turn left hand 
lady to centre, etc. [16 bars]. 

Play twice for heads, then for sides. 

No. 4.— (Introduction). Heads lead to the sides, sa- 
lute [4 bars] ; to opposite side [4 bars]; then to places 
[4 bars]. First couple face out, sides fall in line [8 
bars]; all chasse or glide polka to right and back 
twice [8 bars]. The ladies counter-march [4 bars], 
(coming back to where they started from). All for- 
ward and back [2 bars] ; three hands 'round to places 



—68— 

[2 bars]; Four gentlemen turn left hand lady to cen- 
tre, etc. [16 bars]. Play four times. 

Note — When we say cowple we mean a gentleman and his 
two partners. On the last 16 I ars of each number the left hand 
ladies are turned to the centre by the gentlemen, where they 
can remain idle or cross hands once around and back. After 
they all polka the gentleman leaves the one just danced with 
on his left, and the four ladies in the centre step on his right, 
thus giving each lady an equal chance. When they turn right 
hand lady, both give right hand, when they turn left hand lady, 
both give left hand. Every time they turn except in No. 3, only 
one hand is given. When the ladies counter-march, the gen- 
tlemen mark time. Don't play march too fast, or try to double 
it up into polka time. 

N. B —The last 16 bars of No. 1 explains the last 16 tars of 
each number. If the quadrille seems too long, play Nos. 1,2 
and 3 twice through, and No. 4, four times through. In order 
to give each lady an equal amount of dancing. It should be 
played twice for heads and twice for sides. When the dancers 
turn with the right, etc., they should be far enough apart to 
occupy 4 bars of music, in turning, and use the polka step. 

If the left hand ladies moulinet in the centre while the 
others polka, the quadrille will be much prettier. 
Music of above for Piano, 50c. 



THE OXFORD MINUET. 

By permission of Prof. Horace W. Beek. 

Position. — The same as in Military Schottische. 
To begin, hold hands well up as in Minuet. 

EXPLANATION FOR GENTLEMEN. 

Extend left foot to fourth position (arching instep, 
toe pointed to floor), step on same foot [count 1] ; 
repeat with right [2]; with left [3]. Turn quarter 
round to right on ball of left foot and extend right to 
fourth position, facing partner [count 4]. 
Change Hands. 

Now starting with right foot, return to place 
with same step, ending with left foot in fourth posi- 
tion, and facing partner [count 5, 6, 7, 8]; step one 
pace to the left with the left foot [count 1]; cross 
right foot in front in fourth position [count 2]. 

Note. -At count of 2 raise hands, gentleman bending from 
the waist to right. 

Step one pace to right with right foot [count 3]; 
cross left foot in front in fourth position [count 4]. 

Note.— At count of 4 lower hands, gentlemen bending from 
waist to left. 



—69— 

Step one pace to the left again with left foot [count 
5]; cross right foot in front to fourth position "[count 
6]; step one pace to right with right foot [count 7] ; 
draw left foot back and salute [count 8]. 

NoTE.--Tlie gentleman will put right hand on heart when 
bowing. 

PART II.— (Galop). 

Step forward with left foot [1]; cross right foot in 
front of left, toe pointing to floor and hop on left foot 
[2]; repeat same movement to right beginning with 
right foot [count 3, 4]; repeat this movement with 
left and right foot [count 5, 6, 7, 8.] 

Note.— Gentleman's left hand to lady's right for this 
movement, swaying hands and form with rhythm of the step 
and music. For next movement, waltz position. 

Galop (Waltz position) [count 1, 2, 3, 4], to left end- 
ing with weight on left foot; galop to right [count 5, 
6, 7, 8], ending with weight on right foot. 

Repeat from the beginning of the galop movement 
to finish. 

Orchestra, 50c. Piano Solo, 50c. 



CHICAGO GLIDE. 

By Prof. Jas. Gearin.— By permission of Jno. Church Co. 
PART I. 

Position. — Gentleman take lady's left hand in his 
right, both facing in same direction; gentleman 
starting with right foot, takes three walking steps 
forward [count 1, 2, 3], lifting the feet lightly and 
quickly and keeping time with hands at each step; 
bring the left foot forward across in front of the 
right [count 1]; bring back to former position [count 
2]; then bring it straight forward [count 3]. 
Repeat the three walking steps backward (starting 
with left foot), drawing right foot across in front of 
If^ft, then bringing it back in a half circle [count 1, 
2], and at the same time turning on the toe of left 
foot and making a salute. The lady executes above 
movementssimultaneously with the gentleman, using 
the left foot instead of right, etc. 

PART II. 

Join right hands and take two glide waltz steps in 
a half circle (lady to right, gent to left), then gent 
turns on toe of left foot, bringing right foot behind 



—70— 

and salutes. Joining left hands repeat the waltz step 
in opposite direction and salute; join both hands, 
execute Spanish Waltz movement [3 bars] ; gent cross- 
ing the right foot in front of left, then left in front 
of right. (Lady uses opposite foot). Take waltz posi- 
tion and waltz [5 bars]; repeat the Spanish Waltz 
movement [3 bars]; waltz [5 bars]. 

Orchestra, 55c. Piano Solo, 50c. 



WALTZ COTILLION. 

Copyright by B. Coanacher. By F. L. Clendenen. 
Three-fourths tempo. Address partner and center; 
first two ladies dos-a-dos, and turn partner right 
hand [8 bars]; first two gents dos-a-dos and turn 
partner right hand f8]; side two ladies the same [81: 
side two gents the same [8]; first four cross over [8]; 
side four cross over [8]; first four waltz to place [8]; 
side four waltz to place [8]; all promenade around 
[16]; grand right and left as follows: salute pardner, 
Join hand and waltz around each other [4]; pass to 
next, salute, join left hands, circle around [4]; pass 
to next, etc , until places are reached [16]; first 
couple waltz inside and face out [8]; sides form in 
line back, all face partner, join right hands, waltz 
half around, change hands and waltz back [4]; gents 
join nearest hands, and raise forming arch; ladies 
waltz single file under first arch, back under last 
arch [8]; all forward and back [4]; all forward and 
waltz to places [16]. Repeat from beginning, second 
couple facing out; all waltz around the hall. 



THE GERMAN. 

The Cotillion or German stands today as one of 
the leading forms of amusement for not only the 
most fashionable society, but is becoming a favor- 
ite in nearly every ball room. In arranging the 
figures herein contained, I have endeavored to give 
mostly new and up to-date figures. There are at 
present so many books containing figures and ex- 
planation that we shall not dwell upon the details. 

In arranging a German, the leader must be gov- 
erned entirely by the surrounding circumstance, 



-71 — 

choosing figures judiciously to suit the tastes of the 
assemblage. 

To begin the German, the leader first arranges any 
even number of couples in a semi-circle around the 
hall, numbering each couple. After each figure the 
ladies should be returned to their respective places, 
then resuming their own places, ready for the begin- 
ning of the next figure. 

As the evening's enjoyment and success of a Ger- 
man depends entirely upon the leader, he should be 
on the alert at all times to keep up the life of his 
work. Open with a figure that brings all upon the 
floor. *' The Kaleidescope," by Thuma, will be found 
a very pleasing opening — something after the fol- 
lowing : 

Figure No. 1- 

Leader signals one-half up, and waltz; signal, all 
select new partner, " favor," and all waltz; signal to 
seats. 

Figure No. 2. 

Six couples up; waltz or two-step once around at 
signal. Leader hands each a small handful of 
plain colored tissue paper; cut in small squares, 
and to each of the gentlemen a broom ; mark a 10-inch 
square on floor in front of each gentleman; on signal, 
ladies toss paper in air; gentlemen endeavor to 
sweep as much of the paper into his square as 
^ possible; when all is swept into squares, the ones 
having greatest number of any color dance with lady 
tossing same color into air. Repeat by other couples. 

Figure No. 3. 

FAVORS. 

Six couples up and two-step; signal, each select new 
partners, favor and dance. Continue until all are 
dancing. 

Note. — The favors for this figure should be numbered, 
each number drawing a prize which contains the favor; prize 
, may consist of all kinds of trinkets as matches, tooth-picks, 
nails, etc., up to more elaborate figures. 

Figure No. 4. 

Form two lines about 10 feet apart, one of ladies 
and one of gents; blindfold the gents; signal, gents 
try to waltz between the ladies without touching 



—72— 

them; if successful, take choice of ladies and dance, 
if any lady is touched, he must select another gen- 
tleman, blindfolding him until all are dancing, and 
repeat; when only two remain, have two gentlemen 
try to pass between; as they pass through, leader 
take one and waltz around hall leaving one gentleman 
to waltz alone. 

Figure No. 5. 

FAVORS, TOY BALLOONS. 

Ten couples up and dance; signal, each select new 
partner and favor, then dance until signal; at signal, 
all form into hollow square, as follows: any even num- 
ber of couples stop in one four-corner of the hall, 
facing diagonally toward the center, couple behind 
couple; at a signal the gentlemen turn to the left and 
march single file until the hollow square is formed 
with open corners; next, signal ladies march in direct 
line to center of the square; join hands, turn once 
completely around, thus meeting partners, when 
dancing is resumed until signal; all resume seats. 

Figure No. 6. 

Six couples up and dance at signal; all advance to 
center of the hall; join left hands to their respective 
partners; all circle, as they turn, the ladies throw a 
bouquet to any gentleman; he at once joins ends of 
lines; the gentlemen then do likewise; continue until 
the star is as large as can be conveniently formed: at 
signal all dance. 

Figure No. 7. 

Four couples waltz; at signal cease, and the four 
ladies select another gentleman, retaining their own 
partners, and form as for set dance, lady between the 
gentlemen; ladies join right hands and circle; gen- 
tlemen face, and march opposite directions single 
file; upon reaching original places, turn with left 
hand, and at the same time the turning is being 
made, the four remaining gents ^o to the center, 
cross right hands and circle; outside circle moving 
opposite; four center gents now turn ladies; at same 
time the four remaining gentlemen go to center and 
turn; turn as before and all stop in one large circle; 



—73— 

all gents face to right, ladies to the left, and grand 
right and left around; at signal, waltz with the near- 
est gentleman; four remaining gents waltz alone; at 
signal, the four couple retire and next four start 
out, etc. 

Figure No. 8. 

Place two tables, one in each end of the room, 
placing on each twelve lighted candles some distance 
apart; couple up and dance; at signal lady leave the 
gentleman in the center of the room; she selects 
another gent and also places him in the center of the 
room, backs together; she stands near; at signal, 
gentlemen make rush for candles, the one blowing 
ont their tsvelve first, and returns to lady, waltzes 
with lady; other gent waltzes alone. 

Figure No. 9. 

Eight couples up and dance; at signal, the eight 
ladies stop in eight different places around the hall; 
leader then gives each a lighted candle, which she 
holds high; the gents now select new partners, forming 
a circle in the center; the leader now numbers the 
ladies, at the same time placing the number in an 
envelope, and the gentlemen draw; at signal, all 
dance around to left; at signal, break circle and all 
run for station indicated upon card; the first gentle- 
man to blow out a light dances with the lady; others 
dance alone. 

Figure No. 10. 

Seat a lady in center of the hall, and as each couple 
pass her they toss her a flower; if lady tossing same 
fails to throw flower in her lap, she is to take her 
place, and flower girl dances with her partner. 

Figure No. 11. 

Six couples up and dance; at signal, the six gentle- 
men retire to a saw horse; saw piece of wood, and 
the one sawing the block in two first waltzes with 
choice of partners; the last must clean out the muss 
while leader dances with lady. 



—74— 
Figure No. 12. 

Six couples up and dance; at signal, gentlemen 
select new gentlemen for their partners; then select 
new partners for self; each gentleman favors lady 
with a flower-wreath by placing same upon her head. 

Figure No. 13. 

Similar to No. 12, only ladies use button-hole bou- 
quets, which they pin on gentlemen's coats. 

Figure No. 14. 

Ten couples up and dance; at signal, gentlemen 
retire to one corner; ladies are given fishing rods 
baited with candy; gentlemen try to catch it in their 
teeth, dancing with same lady holding the rod. 

Figure No. 15. 

The following figure will be found good for a danc- 
ing class. All up; one extra gentleman; all dance; 
leader signal, all change partners quickly; will be 
one left each time. 

Figure No. 16. 

Six couples waltz at signal; each lady selects 
another lady. The ladies who have chosen a new 
partner from across one end of the hall, with hands 
joined and the gentlemen back of them. The gen- 
tlemen who have chosen a new partner from across 
the other end of the hall, with the ladies in front of. 
them, who join hands; all move forward with waltz 
[8 bars]: retire [8 bars]; ladies now raise their arms 
and the gentlemen pass under and move toward the 
center of the hall, passing through when they meet, 
and dance to signal with opposite lady. 

Figure No. 17. 

Eight couples waltz; at signal form as for Double 
Lanciers; grand right and left; at next signal lady 
blindfold the gentlemen, then join right hands; at 
signal, grand right and left; at signal, all waltz; next 
signal, all grand right and left: at signal ladies skip 
to seats leaving gentlemen in centre. 



—75- 
Flgure No. 18. 

A FREE BUS. 

Procure large flour sacks made of paper for each 
gent on the side mark the name of some prominent 
hotel; stretch a long rope (held by two boys), from 
door out into hall; ladies adjourn into adioining 
room and await signal; gents place caps on head 
and take places back of rope; the gents are supposed 
to be hack drivers and try to procure a passenger for 
their house as the ladies enter; signal, ladies all 

enter, and gents yell out "This way for the " 

(house they represent, etc.); ladies take their choice 
and put favor on gents' coat; at signal, all dance. 

Figure No. 19. 

PARACHUTE-189P. 

Ten couples up and dance; at signal, ladies throw 
t^^ Pf-'^ichutes of various colors into the air, at same 
time the gentlemen endeavor to pierce one of the 
parachutes with a dart held by them. The color 
pierced designates the partner. 

OH, PLEASE DOI 

rr.f.1^ ^-^^'f^ ^t^^%^ \° ^^'^•'■^ P'^^ced in centre of the 
room in front of which are placed cushions; eight 
gentlemen «ircle around the ladies moving to the 

on,' f^iH'tT''',!'''/'^"""^'^ '^°«^' "P0° the cush- 
ions, fold their hands then extend pleadings; all sav 

nUrT.'.^'^'J^u"^ *°*° '^' 'y^' °^the ladies "Oh"^ 
.please do! The two gentlemen left, dance alone 

THE "DEWEY" FIQURB 

r/MJniK^?"'f ' 'n' ^^'.^^ '" ^^'^ Bombardment 
PHtriot c rnwc "^^u'^L'^ ''^"^ ^""^ 1"*te a display of 
patriotic colors The dancers are arranged in paral- 
lei columns and at a signal march, moving in lines 

Hne'un?f ,*" '''''"'''' P^'^y ^* b^"'«- Finally they 
side lln *"^° '°»P°«i«g columns, the women on one 
amr;,, nUinn "'" °'^.^'- ?"" '^^ ^""^^ '« Ihe stock of 
Wts At ;h.T"'"?f.°^''*^' ^h'*^ '^"d blue paper 
the , Lh^f .^ ^'^^^^ ^^^ bombardment begins, and 
thLT^'*"'^ ^"Sf "^« ^^^ai-ts i^nd hurl them at 
their adversaries. The fun increases as the battle 



—76— 

waxes hot and the colored hearts burst and theiy 
colored paper contents are sent fluttering about. In 
the end there is a complete capitulation and jthe part- 
ners waltz off together. 

Another Figure based on war lines, is that repre- 
senting camp life. At the sides of the room are 
placed paper tents, and in these, four men hide them- 
selves, thrusting only an arrow through the tent. 
Five young women march around the tent and at a 
given signal, seize one of ihe arrows and proceed to 
draw the owner through the tent and thus capture 
him for the dance. The young woman who is left 
has to dance by herself. 

THE KNOT. 

Every one in the circle should tie a knot in one 
corner of their handkerchief; four or six couple up; 
signal, gentlemen seat their ladies in chairs provided 
for them, the ladies place two corners of their hand- 
kerchief in one hand, one of the corners being that 
which is in knot, simply exposing the two ends, the 
gentlemen each select two other gentlemen and pre- 
sent them to their partners, the gentlemen each take 
one corner of the handkerchief exposed, the lady 
lets go of the handkerchief and the one not having 
the knot will dance with the lady; the one having it 
will prepare his handkerchief in the same manner 
and be seated, to be drawn by two ladies, who should 
be selected by some gentleman; the lady in this in- 
stance drawing the knot dances with the gentleman 
that selects her, the selected gentleman dancing 
with the other. 

THE SPRINTERS. 

Couples up; signal, each select a new partner and 
form in a circle with hands joined; select another 
gentleman to run around the circle and strike some 
gentleman on the back, the gentleman who is struck 
will immediately start to run in the opposite direc- 
tion around the circle, and when they meet on the 
opposite side will make two bows then continue, the 
one reaching the open space left by the gentleman 
who was struck will take that position shutting the 



—77— 

other one out, who will return to his seat while the 
rest dance around the room. ' 

THE WEAK LEADING THE BLIND. 

Couples up; signal, each select a new partner and 
form a circle, large handkerchief should be furnished 
each lady to blindfold their partners; signal, grand 
right and left; signal, dance with those nearest; at 
finish ladies will return to their seats leaving gents 
to find their seats as best they can. 

CHARGE OF THE LIGHT BRIGADE. 

Couples up; signal, each lady selects another ladv 
each gentleman selects another gentleman; the ladies 
forni circle in centre of room, the gentlemen form 
circle outside of ladies, the gentlemen raise their 
hands, the ladies stepping back under the upraised 
hands which should be lowered, forming what is 
known as a basket; the basket thus formed should be 
divided in halves, each half retiring; one to the head 
and the other to the foot of the room, taking as part- 
ners the gentleman opposite them. 

UMBRELLAS. 

Procure as many Japanese umbrellas as there are 
couples up; an equal number of chairs should be 
placed at the head of the room, about four feet 
apart; signal; gentlemen seat their partners in the 
chairs, presenting each with an umbrella, which they 
will spread and hold over their heads; the gentle- 
men each select two other gentlemen, and present 
them to their partners; the ladies will present the 
umbrellas to one and dance with the other; the one 
receiving tne umbrella will hold it over the couple's 
heads while they dance; partners of the ladies may 
seiect new partners from the circle. 

MATCHING COLORS. 

Prepare two round sticks about three feet long and 
an inch in diameter, by gilding and attaching to one 
end of each, twelve ribbons about an inch in width 
and two yards in length, ribbons to be of different 
colors, but the same colors attached to each stick- 
as a finish to the top where the ribbons are attached' 



—78— 

a large rosette or pompon may be fastened; seven 
couples start; signal; each lady selects another lady, 
and each gentleman another gentleman, excepting 
the first couple of the first seven who started, each 
will take one of the sticks with the ribbons, one 
standing at the head of the room and the other at 
the foot; all the ladies up gather around the gentle- 
man holding the stick, and each take the end of one 
ribbon; gentlemen will gather around ladies holding 
the stick, each taking a ribbon; when all have taken 
ribbons they will follow toward each other, the sticks 
being held by the lady and gem, the two holding the 
same colors dance together. 

THE FINALE FIGURE. 

The favors are very long gilded staves, crowned 
with clusters of roses; just a minute before the time 
for distribution, they are wheeled into the ball room 
in a sedan chair; in a twinkling every one is seized 
and given to their partners; the dance is continued 
with the bunch of roses floating through the room, 
above the heads of the dancers. 

THE SEATED CIRCLE. 

Arrange eight chairs in a circle in the center of the 
room, with backs toward the center, leaving about 
three feet space between the chairs; four couples up; 
at signal, each gentleman selects a lady, and seats 
her in one of the chairs, and each lady selects a gen- 
tleman and seats him in one of the chairs, care being 
taken not to have two ladies or two gentlemen to- 
gether; they must be arranged alternately; after 
having seated the new partners, select two more and 
stand in front of the partner who has been seated; 
the two selected, standing one on the right and one 
on the left of the one selecting them; all join hands 
in circle and move once around to the left, after 
reaching original places; signal, those who have se- 
lected partners and seated them take them and dance, 
whilst those nearest each other dance together. 

THE BELLS GO RINQINQ FOR SARAH. 

The bells may be toy bells; if six bells, place six 
chairs in a circle, in center of room facing the cen- 



—79— 



,-n''f ifiV>?"P'''l"P' ^'"°*'' the ladies seat gentlemen 
in tne chairs, handing each gentleman « h^ t^ 
ladies select new partners and^dance? the gentlemen 
ringmg the bells for ladies to come to theTas nm 

Sr nT&nnS„«U° c-ai-/o ^so^hS 

WINDniLL PiaURB 

^pni!'^ is started by two couples who cross hands in 

caU onr tn°tr ^"^ ''^°^''' '^^ ^^'"en on the end 
call out to the men to join onto the arms of the miM 
and inen call out to the women to do the same ,?nt i 
the wheel gets too big to revolve; at signal e^cCen 
tieman dances with nearest lady to him 

BALLBT FIGURE 

8e/°Eh^' ?'\'°"P'! ^''h a brilliant scarf of tin- 

TISSUE PAPER SCREENS. 

JSti;e\'Ll^e^Sc?fiii"s^^oVerr^?J„^r/i^'"!,-." 

sfitutf 'fo^'^tf "^" '^ oTafm ?heY;Va''trr's.*'^X ful' 
Statute for the screen may be fonnH in a \. 

OCTAGONAL BOOTHS 



—80— 

BABY MINE. 

A rocking chair is placed in the center of the room, 
and in it is placed a lar^e doll dressed in long dress; 
perform some figure where one gent will be left out; 
the gent should rock thebaby while the others dance. 

BONBON FIGURE. 

Procure a sufficient amount of candies, not too 
large. If eight couples are to dance the figure, eighi 
chairs should be arranged in line about four feet 
apart; two cushions should be placed in front of each 
chair; signal, gentlemen lead partners to chairs, seat- 
ing them, and give them candy tong that has been 
provided, then passes the trayof bonbons from which 
she takes one; the gentleman then selects two gen- 
tlemen and leads them in front of their partners, the 
gentlemen thus selected kneel upon the cushions and 
close their eyes, and open their mouths; the lady 
then chosesby placing bonbon in the mouth of one, 
and then dancing with the other. The partners of 
the ladies may select partners from the circle; the 
ones that received bonbons may do likewise. 

GOOD CLOSING FIGURES. 

Form as for march; each lady procures a handful 
of colored paper; gents a cap; all march once around, 
then waltz; at signal, ladies throw paper in air; gents 
throw serpentines, which are paper of various colors 
rolled to unwind; when thrown in the air one end is 
retained in the hand. The effect is beautiful. 



ORDER THE 
TRILBY TWO-STEP QUADRILLE 

SPECIAL ARRANGEMENT 
FOR PIANO 

PtiCCf per copYf - - 50c» 



INQUIRIES fIND flNSWERS. 

Question, What is a Quadrille ? 
Answer. An assemblage of four ladies and trentle- 
men who stand in the form of a square. 
Cues. What is a contre dance ? 
Ans. Two couples standing in lines opposite. 
(2ues How niany steps apart should the couples 
stand ? Ans, Eight. ^ 

'hies. What is a Diagonal Quadrille ? 
;2^. An assemblage where'^the head couples face 
sides, standing in two lines, facing. 
lies. What does the word tempo express ? 
.ins. Time. 

Qiies. What constitutes a half step ? 
Ans, Gliding the foot from a closed position for- 
ward, separating the feet the length of the foot The 
movement may also be made to the side or back 
Qiies, What constitutes a full step .? 
Ans, A movement from an open, iTito a closed 
position, and immediately passed to an open position 
dr\Ue\' ^^^^ ^^^ numbers of the original qua- 

Ans I Pantalon. 2, Ete. 3, Poule. 4, Tienis. 
a Pastourelle. 

.6^5. How niany measures of music required for- 
i-P irst four right and left. 2— Ladies' chain v^ 

n.?tnl''^'^^^-Tr-'^~^^^"',^^^^- 5-Balance and turn 
partner. 6— First couple promenade inside the set 
ana race out. 

Qties. How niany counts to .a measure, 2-4 or 6~S 
time ? Ans. Two. 4 ^t o o 

Ques. How high should the joined hands be raised 1 
Ans. Height of the lady's shoulder. 
,^Ques. How should the hands be joined in a mixed 

i^/: wu^^t'^/'''^ r^^^ P^^^ ^ow"' ^eft palm up. 

Ques, Which foot should you start with ? 

Ans. Outside foot. 

Ques What tempo would you play for a Quadrille ? 

-r/ ?ZS. 55 to DO. 



LIBRARY OF CONGRESS 




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